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LIBRARY 


M. Knoedler & Co. 
14 East 57th St. 
New York 


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5 i 
25) Sas 
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ON FREE VIEW 


FROM MONDAY, FEBRUAIRY 247TH 
UNTIL THE DATE OF SALE, INCLUSIVE 


(SUNDAY EXCEPTED) FROM 9.00 A.M. UNTIL 6.00 P.M. 


oi PROPERTY 


COLLECTED BY THE LATE 


RICHARD MANSFIELD 


UNRESTRICTED PUBLIC SALE 


On Monpbay and TuvueEspAay AFTERNOONS 
MarcH 2ND AND 3RD 
BEGINNING AT 2.30 O'CLOCK 


Awnp on Tuespay Eveninc, MarcH 3RD 
BEGINNING PROMPTLY AT 8.30 O’CLOCK 


AT THE AMERICAN ART GALLERIES 
MADISON SQUARE SOUTH, NEW YORK 


CATALOGUE © 


OF 


VALUABLE PAINTINGS 
Antique Flemish Tapestries 


- ANTIQUE ITALIAN, FRENCH AND ENGLISH FURNITURE 
RARE OLD ENGLISH SEVRES AND OTHER CHINA 
BOHEMIAN GLASS, RELICS AND CURIOS 


IMPORTANT HENRY II. AND FRENCH 
RENAISSANCE CARVED MANTELS 
TEXTILES AND EMBROIDERIES 
And Miscellaneous Objects of Interest 


COLLECTED BY THE LATE 


RICHARD MANSFIELD 


TO BE SOLD AT UNRESTRICTED PUBLIC SALE 
BY ORDER OF Mrs. RICHARD MANSFIELD 


mete AMERICAN ART GALLERIES 
ON THE DATES HEREIN STATED 


THE SALE WILL BE CONDUCTED BY 
MR. THOMAS E. KIRBY 
OF THE AMERICAN ART ASSOCIATION, MANAGERS 
NEW YORK : 1908 


Press of J. J. Little & Co. 
Astor Place, New York | 


CONDITIONS OF SALE 


1. The highest Bidder to be the Buyer, and if any dispute arise 
between two or more Bidders, the Lot so in dispute shall be tm- 
mediately put up again and re-sold. 


2. The Auctioneer reserves the right to reject any bid which is 
merely a nominal or fractional advance, and therefore, in his 
judgment, likely to affect the Sale injuriously. 


3. The Purchasers to give their names and addresses, and to 
pay down a cash deposit, or the whole of the Purchase-money, if 
required, in default of which the Lot or Lots so purchased to be 
immediately put up again and re-sold. 


4. The Lots to be taken away at the Buyer’s Expense and Risk 
within twenty-four hours from the conclusion of the Sale, unless 
otherwise specified by the Auctioneer or Managers previous to or 
at the time of Sale, and the remainder of the Purchase-money 
to be absolutely paid, or otherwise settled for to the satisfaction 
of the Auctioneer, on or before delivery; in default of which the 
undersigned will not hold themselves responsible if the lots be 
lost, stolen, damaged, or destroyed, but they will be left at the 
sole risk of the Purchaser. 


5. While the undersigned will not hold themselves responsible 
for the correctness of the description, genuineness, or authen- 
ticity of, or any fault or defect in, any Lot, and make no War- 
ranty whatever, they will, upon receiving previous to date of 
Sale trustworthy expert opinion in writing that any Painting 
or other Work of Art is not what it is represented to be, use 
every effort on their part to furnish proof to the contrary; fail- 
ing in which, the object or objects in question will be sold 
subject to the declaration of the aforesaid expert, he being 
liable to the Owner or Owners thereof, for damage or injury 
occasioned thereby. 


6. To prevent inaccuracy in delivery, and inconvenience in the 
settlement of the Purchases, no Lot can, on any account, be re- 
moved during the Sale. 


7. Upon failure to comply with the above conditions, the money 
deposited in part payment shall be forfeited; all Lots uncleared 
within one day from conclusion of Sale (unless otherwise specified 
as above) shall be re-sold by public or private sale, without further 
notice, and the deficiency (if any) attending such re-sale shall be 
made good by the defaulter at this Sale, together with all charges 
attending the same. This Condition is without prejudice to the 
right of the Auctioneer to enforce the contract made at this Sale, 
without such re-sale, if he thinks fit. 


8. The undersigned are in no manner connected with the 
business of the cartage or packing and shipping of purchases, and 
although they will afford to purchasers every facility for em- 
ploying careful carriers and packers, they will not hold them- 
selves responsible for the acts and charges of the parties engaged 
for such services. 


Tue AMERICAN ART ASSOCIATION, Mawnacens. 
THOMAS E. KIRBY, AvcrTionernr. 


CATALOGUE 
EVENING SALE 
TUESDAY, MARCH 3p, 1908 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 8.30 O’CLOCK 


OIL PAINTINGS 


g No. I : p 
= CB. Ponce 
& SEAWAY Bass Date hs ees ) 


UNKNOWN 


Portrait of Cardinal Giuseppe Sartanese 


THE head and shoulders of a cardinal, clad in the scarlet 
robes of his office. His hair is gray and brushed over 
his ears to form two long curls. His face is turned 
slightly to the right, the eyes somewhat downcast and 
looking past the spectator. 


Height, 5% inches; width, 414 inches. 


Cue a Q ais, 


Portrait of Bishop Conolly of New’ York 


THE head and shoulders of the bishop, in a black robe 
with wide turnover collar, beneath which hang his cru- 
cifix and rosary. The yellow collar of his undercoat is 
buttoned around the throat in military fashion. The 
head is bare, the face being turned slightly to the right. 


Height, 5%4 inches; width, 4% inches. 


Nops3 


Lo. ro ey ae WA Cas 


Portrait of Correggio 


Tue head and shoulders of a man in profile to the left. 
He wears a pink coat, over which is a tippet of brown 
fur, and a white collar. He has a long brown beard and 
mustache. . 
Height, 8 inches; width, 6 inches. 


No. 4 


/9.°? UNKNOWN — oAANh 


VANE 


THE head and shoulders of a man in three-quarter view 
to the right. He wears the costume of the sixteenth 
‘century, a dark velvet coat and a loose white linen col- 
lar. A broad-brimmed hat is set jauntily on one side 
of his head. The eyes look straight at the spectator out 
of the picture, which is strongly lighted from the upper 
left. 


Portrait of Rubens 


Height, 8 inches; width, 6 inches. 


No. 5 


UNKNOWN 


o 


age £O 


Head ma VaEsy Kl) Me bar 


Tue head of a florid-faced man of middle age clad in 
the rough cloak of a monk. His ruddy face, with full 
bushy beard, is strongly lighted from above; his head is 
bald, with the exception of one curl in front and a few 
tufts of hair behind the ears. 


Height, 7% inches; width, 6 inches. 


Nh a SCR Bate eran es 


No. 6 


J. M. W. TURNER, R.A. 


oie 0 ENGLISH: 1773—1851 UC f 


The Dogana, venik Ww - 
ecca, looking toward the 


THIS is a view down the Gi 
sea. On the right is the gray mass of the Dogana, with 
its lofty porch and square-pointed tower. On the left 
in the distance is the graceful Campanile, dominating all 
the surrounding buildings as it rears its needle-like point 
against the sky. The surface of the canal is alive with 
gondolas and sailing boats, the gay colors of which are 
reflected in the still waters. The sky is covered with | 
light clouds, touched with a faint pink tinge from the 
rising sun. 

Height, 514 inches; length, 8% inches. 


No. 7 


V. DE PAREDES 
SPANISH 


J Te re 


A stupy for the artist’s larger work of the same name. 
The picture shows the interior of a large salon in the 
time of one of the Louis’. A number of men in the dress 
of the middle of the eighteenth century are gathered 
round a table at which a cardinal and a gentleman are 
seated, playing a game of chess. That the cardinal is 
winning is indicated by the title of the picture; the reason 
is perhaps that his opponent’s attention is distracted by 
two young ladies who stand whispering close by. 


yi ge? 


Monsignor Gagne 


Height, 914 inches; length, 13%4 inches. 


Inscribed: “ébauche pour mon tableau ‘ Monsignor Gagne.’—V. 
DE PAREDES.” 


No. 8 


SIR JOHN WATSON GORDON, P.R.S.A. 


5 0.09 SCOTCH: 17 
VIVA GA. 
Portrait of Miss Margaret Harriet Steu 


86 


THE half-length portrait of a young lady in early nine- 
teenth century costume. She wears a dress of red vel- 
vet, cut low off the shoulders, with large puffed sleeves. 
Round her neck is a gold chain, from which hangs a 
large Maltese cross. Her hair is dressed high on top 
and falls in graceful ringlets to her shoulders. The face 
is in three-quarter view to the right, the eyes looking 
out of the picture. 

Height, 10 inches; width, 8 inches. 


Inscribed on-back: “To the Honble. Mrs. Steuart of Dalguise, 
1829.—WaAtTSON GorRDON.” 


Miss Margaret Harriet Steuart, daughter of Mrs. Steuart of 
Dalguise and niece of the famous Lady Nairne, was born in 1797. 
She was a well-known member of the illustrious Edinburgh 
literary set in the early nineteenth century, and was a friend of 
Sir Walter Scott. She lived more than one hundred years. 


No. 9 


RUDOLF SUHRLANDT 
GERMAN: 1781—1862 


eta ai oe Bee Al 


Tue head and shoulders of a middle-aged lady. She 
Wears a green dress with a high roll collar, under which 
is a white scarf. Her head is covered by a white linen 
cap covered with gauze, the band of which passes be- 
neath her chin. 

Height, 10 inches; width, 7% inches. 


Inscribed on back: “ Gemalt vom Professor Suhrlandt.” 


No. 10 


ABRAHAM MIGNON 
Berg be GERMAN: 1640—1679 


Still Life ed LAL. 


(Water Color) o, 


On the ground beside an old paling is a large cabbage, 
together with a turnip, some onions and other vegetables. 
A butterfly and a lady-bird have settled upon the cabbage. 

Height, 11% inches; width, 8% inches. 


Signed on the lower left, M1cNon. 


No. I1 


ABRAHAM MIGNON 


ey yee GERMAN: 1640—2679 
ae 1 Tita 
Still Life lee 


(Water Color) 


Ow a stone balustrade is a confused heap of vegetables 
and fruit, cabbages red and green, artichokes, carrots, 
apples, grapes and many others. A butterfly, a cater- 
pillar and other insects are depicted on various members 
of the group. 

Height, 11% inches; width, 8% inches. 
Signed on the right, Micnon. 


No. 12 


Fares: 57 mae CP hon 


Portrait of a Gentleman 


THE half-length portrait of a man. He wears a red cut- 
away coat with black velvet collar, and a yellow waist- 
coat unbuttoned to show the fine linen ruffle of his shirt. 
His dark hair is unpowdered and falls to the level of 
his chin. He stands with his left hand thrust into his 
bosom, his body turned slightly to the right, his face 
toward the spectator. 

Height, to inches; length, 12 inches. 


No. 13 


GEORGE INNESS, -N.A. 
AMERICAN: 1825—1894 


| ; 
ie a 0. ve ry) > WZ 
Landscape re Yd ey Soe. 


THE scene shows a meadow, parched brown by the sum- 
mer drought, in which lie the trunks of two old trees. 
On the left is the corner of a rail fence, and beyond this 
a line of birch trees, almost denuded of their foliage. In 
the distance a few cottages and outbuildings indicate the 
site of a village, and beyond, the ground rises into a low 
range of hills. The sky has an autumnal appearance, 
and is covered for the most part with dark rain clouds. 


Height, 10% inches; length, 16 inches. 
Signed on the lower right, G. INNEss, 1883. 


No. 14 


Do edd 
SPANISH SCHOOL7 


y 
it CO Lilie 


Tue head of a soldier clad in elaborate armor of steel { 
inlaid with gold. A white linen ruff round the neck sets 

off a melancholy face with pointed beard and drooping 

mustache. The face is in three-quarter view to the right, 

the eyes looking straight at the spectator. 


Portrait of a Gentleman 


Height, 16 inches; width, 10% inches. 


No. 15 


Von ee SCHO ee 
me 


Portrait of a contin 
(Pendant to the Preceding) 


THE head of a man in armor and ruff similar to the 
preceding. His mustache has more of a military twirl, 
and his hair is brushed back stiffly from his forehead. 


Height, 16 inches; width, 10% inches. 


No. 16 


= ? 
50 fo GRAVINSKY (?) 


Head of a ene mid The a if (thepG 


THE head of a young woman in three-quarter view to 
the right. A gauze veil thrown over the head and falling 
below the shoulders conceals the figure and only allows 
a few locks of dark brown hair to be seen. 

Height, 15 inches; width, 11 inches. 
Signed on the upper left, GRAVINSKY. 


lay DUTCH: 1670—1722. 4A 
Ae 


Lady with Fruit and Game 


SEATED in a reclining position on a bank is a young 
woman. She wears a loose white chemise, which has 
slipped off her shoulder and leaves the breast bare. Over 
this is an upper garment of red, fastened at the neck by 
a jewelled clasp, and a mantle of blue lined with orange. 
On her knee she holds with her right hand a bunch of 
fine grapes, while her left clasps a woodcock and the leg 
of a great bustard. On the ground lie a robin, a king- 
fisher and other birds. The background shows the trees 
of an extensive park. 

Height, 16% inches; width, 14 inches. 


No. 18 


EARLY SPANISH SCHOOL 


Portrait of a Man in Armor o, eh US Sg faye 


THE three-quarter length portrait of a young man. He 
wears a corslet, with shoulder and arm pieces, of polished 
steel elaborately damascened and inlaid with gold. A 
stiff skirt heavily embroidered depends from his waist, 
and a white scarf is tied round his right arm. His head 
is bare, his dark chestnut curls framing a delicate and 
aristocratic face. 

Height, 14 inches; width, 10% inches. 


a te IS 


spender peinnico Sali NS SE Ap apy rasa 


rte ma 


oat pet ee pete en rn te mr ete etree. 


No. 19 


UNKNOWN, 
te C4: i / ; 
OU Fe 


Head of a Gentleman 


(Pastel) 


THE head and shoulders of a young man in three-quarter 
view to the right. He is dressed in a dark green coat 
with short cape. Over his left shoulder is thrown a red 
cloak. Round his neck is a fine linen stock and on his 
head a small periwig, which covers his ears. 


Height, 18 inches; width, 14 inches. 


No. 20 


Lp sd W. N. Cr) 


vA 
Aton Suite ip 
Portrait of a Gentleman vo : ( CA ef. 


THE half-length figure of a gentleman lressed in the 
style of the mid-Victorian era. He is seated, with his 
arms folded, by a stone balustrade, from which is ob- 
tained a wide view of a pleasant rolling country. He 
wears a black frock-coat with velvet collar, striped waist- 
coat cut very low and a large black stock. The face and 
figure are in three-quarter view to the right. 


Height, 171%4 inches; width, 15% inches. 
Signed in monogram at lower right, ty 


No. 21 
RICHARD PARKES BONINGTON 


I S-7% ENGLISH: 1801—1828 


THE scene shows a strip of sandy seashore, with high 
cliffs, on the left, and on the right the sea, tossed and 
‘angry, under a dense storm cloud which has almost ob- 
scured the sky. Seated upon the sand in the foreground. 
and leaning against a large flat rock is a young man, 
dressed as a fisherman, with heavy sea boots, wide leather 
breeches and rough jersey. Over his shoulder is a large 
bag closed by a cord, and on his knee is an earthenware 
jar, which may at one time have contained spirits. 


Young Fisherman 


Height, 15 inches; length, 18 inches. 


Signed on the lower left, R. P. B. 


No. 22 


JOHN W. EHNINGER, N.A. 


wa? “A AMERICAN: id. 
Interior Uf Sete 

On the bottom st Y ot a stairway down which pours a 
shaft of sunlight stands a young girl in the costume of 
the late sixteenth century. She wears a blue skirt and 
pink bodice, the sleeves puffed and slashed on the shoul- 
der. In the room itself stands a young man, richly 
dressed in black and gold, with a short blue cloak hang- 
ing from his shoulders. In his hand is a velvet cap with 
a jaunty feather, and as he leans upon the back of a 
chair he seems to be urging something upon the girl 
to which she is loath to agree. 


Height, 18 inches; width, 1434 inches. 
Signed on the lower left, J. W. EHNINGER. 


No. 23 


UNKNOWN 
wo). 50 


y, y, 
Portrait Z Elizabeth Fennell MES, op 


Tue head and shoulders of an elderly lady. She is clad 
in a black dress and wears on her head an elaborate white 
cap tied at the throat with a blue ribbon, beneath which 
two bunches of curls appear at either side of the fore- 
head. The face is in three-quarter view to the left, the 
eyes looking straight at the spectator. 


Height, 1914 inches; width, 1514 inches. 


Elizabeth Fennell was one of the first actresses to come to the 
United States. She was married to John Fennell, himself an 
actor (1766—1809). 


No. 24 


EUGENE VERBOECKHOVEN 
Tio gece DUTCH: 1798—1881 


Landscape with Cattle en Fin hae 


On a little knoll are two cows, one standing, the other 

lying down, a ewe with two lambs and a milch goat, all in 

close proximity to a dead tree, against which leans a 

peasant who supports himself on a staff and gazes into 

the sky. In a pool in the foreground are two ducks 

with their brood, and other ducks are flying through the 

air towards them. The scene extends over flat meadows, 

through which runs a marshy stream, to a belt of trees, | 
behind which are some large buildings, and in the far 

distance several windmills. 


Height, 19% inches; length, 24 inches. 


Signed on the lower right, EuGENE VERBOECKHOVEN, 1846. 


So eG ego 


He. [SSO 


It 


| 


No. 25 


/09 0,10 PARLY FRENCH SCHOOL : 


Hétel Bourgogne in Moliére’s Time 


THE scene shows one end of a long room, with two tiers 
of galleries supported by pillars, and a central box, the 
railing of which is covered with a large rug, presumably 
for the comfort of the most important guests. A crowd 
of figures in fancy dress, harlequins, clowns, beggars, 
etc., are moving about, masked and otherwise. In the | 
foreground a harlequin is conducting a flirtation with 
one lady, while another proffers him a glass of wine. 


Height, 1814 inches; length, 3714 inches. : 


No. 26 


CHARLES ANDRE VAN LOO 


a ): ad Cael 1705—I 


Portrait of Francois Boucher 


THE famous painter is represented, palette on thumb and 
paint brush poised for work. He wears a cloak of brown 
cloth lined with red and turned back to show the sleeve 
of his coat, which is of sage green, trimmed with gold 
braid. Fine lace cuffs are round his wrists, setting off 
his slender, nervous hands. The face is in three-quarter 
view to the right, the eyes apparently fastened upon the . 
subject of his picture. ; 

Height, 20 inches; width, 15 inches. 


Francois Boucher (1703—1770) was a celebrated French painter. 
He was a pupil of Le Moine, and succeeded Van Loo as painter 
to Louis XV. Among his masterpieces were “Venus Ordering 
Arms for Aeneas” and “The Bath of Diana.” 


No. 27 


GEORGE ROMNEY 
se By 0. @¢ ENGLISH: 1734—1802 


pay 
Portrait of David Garrick han oe 


THE head and shoulders of the famous actor are shown 
as if leaning into the picture from the right. He wears 
a red coat and waistcoat, the top buttons of which are 
unfastened, showing the shirt beneath. Upon his head 
he wears a close-fitting periwig. The face is in three- 
quarter view to the right, the eyes looking out of the 
picture, which is lighted from the upper left. The back- 
ground is a graded tone of blue. i 

Height, 24 inches; width, 20% inches. 
From the collection of Lady Bruce. 


David Garrick, born in 1716 at Hereford, was one of the great- 
est actors that ever lived. Originally educated for the law, he 
abondoned it for the stage, appearing first in 1741 at Ipswich. 
His success was immediate and lasting. He appeared at Drury 
Lane in 1742, his performance of Richard III. being much praised 
by Pope. He created many parts, and was also a successful writer 
of plays, chiefly comedies. He died in 1779, and is buried in 
Westminster Abbey. 


No. 28, 


wae: EARLY FRENCH-—SCHOOL 


TW 


Portrait of a Lady 


Tue head and shoulders of a lady im three-quarter view 
to the right. She wears a red dress, cut low in front and 
trimmed and embroidered with heavy gold bullion. A 
large knot of blue ribbon decorates the front of her cor- 
sage. The hair is brushed back off the forehead and _ 

dressed in a very lofty pompadour in which is inserted _ 


a single rose. ) 
Height, 24 inches; width, 19%4 inches. 


No. 29 


/30.?® JOHN GILES ECHARDT\~//) 


A German painter, who visited England about 1740, and became 
a pupil of John Baptist Vanloo. He acquired considerable repu- 
tation as a portrait painter and was much employed, particularly 
by Horace Walpole. Among other portraits were those of Mrs. 
Woffington, the actress, and Dr. Middleton. He died in 1799. 


Portrait of Lady Maria Walpole 


THE picture shows a young lady seated at a table facing 
the spectator, her arms resting in an easy attitude upon 
a book of music which lies open upon the table. She 
wears a dress of peacock blue satin, cut low in front, 
without any ornament save a large bow with three pearl 
drops upon her breast. Her hair is dressed in close ring- 
lets and is covered with a filmy gauze scarf decorated 
with gold. Her fine oval face is inclined slightly to the 
left and rests upon the fingers of her left hand. The 
eyes look past the spectator out of the picture. 

In the top left-hand corner is a coat-of-arms. In the 
top right-hand corner is the following inscription: “ Lady 
Maria Walpole, only Daughter of Sir Robert Walpole, 
Earl of Orford, by Maria Skerret his second wife. Mar- 
ried to Charles Churchill, Esq.” 


Height, 29 inches; width, 24 inches. 
From Strawberry Hill Collection. 


No. 30 
SIR PETER LELY 

it 00 
mes ENGLISH, 1617— 
VAey 


Portrait of the Duke of Marlborough fm Armor 


THE great soldier is shown to his waist\the body turned 
to the right, the face towards the spectator, the eyes 
looking straight at him. He is clad in a corslet and arm- 
pieces of dark polished steel, the only relief being a white 
kerchief tied round the throat. The face is almost ef- 
feminate in its regularity of feature, with its high-arched 
aristocratic nose and full, sensuous mouth. Huis hair, 
luxuriant as a woman’s, descends in soft masses below 
his shoulders. The background is a graded tone of 


brown. 
Height, 28 inches; width, 23 inches. ~ 


John Churchill, first Duke of Marlborough, victor of Blenheim, 
Ramillies, Oudenarde and Malplaquet, was one of the most ex- 
traordinary men of any time. A magnificent soldier, he was yet 
in turn faithless to every sovereign. Deserting the Stuarts, he 
served in turn William III. and Anne, in whose reign his greatest 
victories were gained. He was more than suspected of trafficking 
with the Stuarts, and on one occasion was sent to the Tower for 
corresponding with the exiled house. He married Sarah Jen- 
nings, the favorite of Anne, through whom his influence at court 
was maintained until she was supplanted by Mrs. Masham in 
1710. Born 1650, died 1722. 


No. 31 | 
| 
DAVID BEEK 


~ $49 DUTCH: CO 
Portrait of a Man fe 


| 
THE head and shoulders De fair-haired young man in 
three-quarter view to the right. He wears a suit of 
black armor with large shoulder flaps, studded with 
brass-headed rivets. Round his neck is a kerchief of 
fine lace, fastened with a bow of scarlet ribbon. Round 
his left arm is tied a broad sash of orange color, indi- 
cating that he is an adherent of the Stadtholder. His 
head is uncovered, his long hair falling in natural waves \ 


to his shoulders. 
Height, 29 inches; width, 24% inches. 


No. 32 


WILLIAM DOBSON 
f / 3.06 ENGLISH: a 


Portrait of a Man in Armor Mu (eo lai dhin 


Tue half-length portrait of a young man. Over a jerkin 
of some soft brown material he wears a corslet of pol- 
ished steel, braced over the shoulders with leather straps. 
At his throat is a kerchief of fine white lace. His head 
is bare and his dark locks fall unrestrained to his shoul- 
ders, framing a somewhat mournful face, with a long 
aristocratic nose, dark eyes and expressive mouth. The 
background is a graded tone of golden brown. 


Height, 30 inches; diameter, 241% inches. | 


No. 33 


WILLIAM HOGARTH 


2° 00 ENGLISH: 16 7—1764 
ess ae 1%. Praben 

Portrait of Himself et 

THE artist has represented himself as a young man of 
some twenty-five years of age, dressed in a coat of brown 
cloth, a few buttons at the top undone to show the white 
linen beneath. He wears no collar or stock, and his shirt 
is unfastened at the throat. On his head, which is shaven 
for the reception of a wig, he wears a loose-fitting red 
cap, so large that it partly covers his ears. His body 
is partly turned to the right, while his face is in three- 
quarter view to the left, the eyes looking boldly out of the 
picture, which is lighted from above. 


Height, 30 inches; width, 25 inches. 


No. 34 


> )- 49 mee rae A 


Portrait of a Divine fe 


Tue head and shoulders of a stoutish man of middle age, 
clad in the garb of an ecclesiastic of the early eighteenth 
century. He wears a plain black coat, over which 1s a 
gown of rich black silk. ‘A crucifix is suspended by a 
broad ribbon round his neck. On his head is a close-fit- 
ting gray wig. 

Height, 30% inches; width, 25% inches. 


No. 35 


NICOLAS DE LARGILLIERE 
ee) ERENCH: 1666-1746 


Portrait of Louvois 


THE hali-length, full-face portrait of a famous war 
minister. He is dressed entirely in black, the sombre 
tones relieved only by the fine lace of his cuffs and the 
elaborate ruff which encircles his neck. His face, some- 
what high-colored, is kindly, and the upturned corners 
of his mouth give him a rather humorous expression. 
He wears a very large wig, parted in the middle and fall- 
ing thickly on either side of his head. His left hand rests 
on a wooden pillar in front of him. 


Height, 31 inches; width, 25 inches. 


Francois Michel Letellier de Louvois, born 1641, died 1691. 
Was minister for war under Louis XIV. from 1666 to his death. 
The confrére and rival of Colbert, he eventually supplanted him 
in the king’s favor. Through his influence the edict of Nantes 
was revoked and the Palatinate laid waste. According to Macau- 
lay he was “the greatest adjutant general, the greatest quarter- 
master general, the greatest commissary general that Europe had 
seen.” Weary of his insolence, Louis XIV. was on the point of 
dismissing him, when he died suddenly in 1691. 


hia), ey 


No. 36 


ne bo a0 SPANISH SCHOOL nt 
Portrait of a Chil 
Tus is the full- length portrait of a little girl about 
eight years old. She stands on a tesselated floor beside 
a table covered with a green cloth, on which she is just 
placing a basket of flowers. She is clad in a stiff red 
dress, falling to her feet, embroidered with elaborate 
foliations in gold. The sleeves are slashed to show the 
white linen beneath. Fine lace cuffs are at her wrists, _ 
and a collar of the same material is round her neck. Her 
fair hair falls in natural curls to her shoulders, and on 
her head is a flat cap with a single feather. 


Height, 36 inches; width, 2514 inches. 


No. 37 


SIR THOMAS LAWRENCE, R.A. 
40 ENGLISH: 1769—1830 
7/0 Va 


| Portrait of the Hon. Thomas Cane 


dM) Cah 


THE head and shoulders of a burly man of about middle 
age. His florid face, with its somewhat coarse features 
and masterful air, is typical of the country squire of the 
early nineteenth century. He is clad in a dark-colored 
coat with roll collar, buttoned down the front. At the 
neck can be seen the lapel of a light waistcoat and a white 
linen stock. He wears mutton-chop whiskers, and his 
hair is somewhat untidy. His face is turned slightly to 
the right, the eyes looking upward and out of the pic- 
ture, which is strongly lighted from the upper left. 


Height, 36 inches; width, 27 inches. 


Bequeathed by the sitter to his nephew, Herbert C. Robinson, 
and sold by him to Richard Mansfield, May 18, 1906. 


No. 38 


Fe 40 EARLY Ne S Te 


Portrait of Madame uation 


THE lady is represented seated in a high-backed chair be- 
side a spinet, upon which she is leaning in a graceful 
attitude. Her dress is of plain white satin, cut low in 
a V shape in front, disclosing the white linen chemisette 
beneath, and laced across the bust with a blue ribbon, 
the only touch of color to relieve its otherwise some- 
what severe simplicity. The sleeves fall just below the 
elbow, revealing a well-rounded arm. Her right hand 
holds a piece of music on her knee. Her face is turned 
slightly to the left, the eyes looking’straight at the spec- 
tator. 

Height, 43 inches; width, 37 inches. 

Maria Felicita Malibran, daughter of Manuel Garcia, was born 
in 1808. She was a famous actress and singer, having equal tri- 


umph in Paris, London, New York, Rome and Berlin. She 
died in 1836. 


No. 39 


Vay, Wy 
j fel : 
Arte _ 


Tue three-quarter length portrait of a lady dressed in 
the style of the middle of the sixteenth century. Over 
a dress of white satin trimmed with galloon and elabo- 
rately embroidered with gold thread, she wears a long 
mantle of dark cloth, trimmed and lined with rich brown 
fur. Round her neck is a large lace ruff, and on her 
head is an elaborately jewelled cap. Suspended from a 
jewelled collar is a crowned eagle from which hang three 
large pearls. Her right hand holds a necklace of pearls, 
while with her left she caresses a large dog which stands 
by. The face is turned slightly to the left, the eyes down- 
cast and looking out of the picture. 


ae 


SCHOOL OF aaa 


Portrait of a Lady with Dog 


Height, 45 inches; width, 35 inches. 


No. 40 


SIR GODFREY KNELLER 


psy Aao-* r) ae 2 hin 


Portrait of the Duke of Marlborough 


THE three-quarter length portrait of the Duke standing 
by a table. He wears a complete suit of steel armor, 
through the interstices of which can be seen some softer 
under garment. Fine lace at the wrists and throat, and 
a gold sword belt supporting a rapier are the only at- 
tempts at ornament. His face is framed by a mass of 
dark brown hair, which falls in long ringlets below his 
shoulders. His right hand holds a staff, while his left ~ 
rests upon a plumed helmet which stands on the table — 
beside him. The background consists of a curtain, on 
which is a coat of arms, and which is drawn back to 
show the blue sky beyond. : 


Height, 46 inches; width, 36 inches. 


No. 41 


igen RAMSAY, V. P. S. or A. 
Qad Pw) BRITISH: 


- : ok _P EGY 
Portrait of a Nobleman fier 


THe three-quarter length portrait of a young man 
dressed in the style of the early eighteenth century. He 
wears a long coat of crimson velvet, with flaring skirts 
and deep cuffs, below which appear the sleeves of a fine 
linen shirt. Beneath his left arm he carries a cocked 
hat, while his right hand rests lightly on his hip. Across 
his breast he wears the blue ribbon of the Garter, the 
motto and badge of the order being embroidered upon 
the breast of his coat. The background shows the corner 
of a building and some trees and blue sky beyond. 


Height, 48 inches; width, 39 inches. 


No. 42 


JOHN RILEY 
7b 20 ENGLISH: 1646—1 


ee VU VS arene 


Portrait of Justice Smit 


THE judge is represented leaning upon a marble-topped 


table, clad in the robes of his office. The long gown is 4 
of scarlet cloth, with deep cuffs and trimmings of ermine, _ 
while a tippet of the same fur hangs round his shoulders. _ 


A narrow velvet ribbon confines his waist, and the con- — 


ventional bib is round his neck. In his left hand he holds — 
a roll of parchment. Huis heavy wig frames a long face, — 
with a sharp-pointed nose and lofty forehead. | 


Height, 4914 inches; width, 40 inches. 


No. 43 


GAINSBOROUGH DUPONT 
ae 40 ENGLISH: 1767—1797,7 2 


Portrait of David Garrick bb. i. Ae PA 


Tuis is a full-length portrait of the famous actor. He 
is dressed in a coat and breeches of rich black velvet, 
under which is a scarlet waistcoat with long flaps edged 
with galloon. His left hand holds a cane, while in his 
right is a three-cornered hat. His legs are crossed, as 
he stands leaning in an easy attitude against a pedestal, 
upon which stands a bust of Shakespeare, the base of 
which is encircled by his right arm. The face is in three- 
quarter view to the right, the eyes looking upward and 
out of the picture. The background shows part of a 
park, with trees, ornamental water and a classic temple. 


Height, 54 inches; width, 28 inches. 


FIRST AFTERNOON’S SALE 
MONDAY, MARCH anp, 1008 
AT THE AMERICAN ART GALLERIES 
BEGINNING AT 2.30 O'CLOCK 


50—OLpD ENGLISH WINE GLASSES. 


Cut diamond pattern, with initial M. within shield 
panels. Two sizes. 


51—Two OLD-FASHIONED SPIRIT LAMBS. 
Clear pressed glass. 


52—TEAPOT AND CREAM PITCHER. 
Antique English cut glass. 


53—Four Tati GosLets. 


Thin crystal glass; engraved ecclesiastical insignia 
and border of floriated scrolls. 


54—E1IGHTEEN LARGE FINGER Bow Ls. 


Clear thin glass; engraved ornamentations in scenes 
in old Holland. 


55—PairR Quart DECANTERS. 
Old English cut glass. ' 


56—Quart DECANTER. “4 
Old English cut glass; diamond pattern foot. 


57—QuartT DECANTER. 
Crystal glass; richly cut. 


58—Pair ANTIQUE DECANTERS. 
Cut foot and stopper. 


59—Fruir Disu. 


Crystal glass; richly cut, with diamond and other a 
patterns. 


60—TALL CLARET PITCHER. 4 
Clear texture, richly and elaborately cut; silver 4 
mountings. 

Height, 1512 inches, 

61—TaLt CLARET PITCHER. | 
Richly cut. Diamond and star patterns; repoussé 
silver mountings. a 

Height, 141%4 inches. 

62—LarcE CrystTAL GLASss VASE. 
Very heavy texture. Elaborate and richly cut dia- 
mond, star and palm-leaf patterns. : 


Height, 14 inches; diameter at base, II inches. 


63—TWENTY-ONE AUSTRIAN CHAMPAGNE GLASSES. 


Boat-shape bowls. Decoration of figures and floral 
scrolls, painted in enamel colors; gilt edges. 


64—FivE BOHEMIAN CLARET GLASSES. 
Amber bowls. Engraved ornamentation. 


65—BoHEMIAN Gass FINGER BowLs. 
Amber color. Engraved grapevine decoration. 


66—SEVEN SPECIMENS OF GLASS. 


Four Venetian finger bowls; blue and white spiral 
pattern. Three ruby-red finger bowls. 


67—ANTIQUE BOHEMIAN GLass VASE. 


Ruby red and white texture. Engraved initials and 
date, T. M., 1845. 


68—THREE ANTIQUE BOHEMIAN GLASS VASES. 
Ruby-red textures; one gilded. 


69—THREE OLD BOHEMIAN GLAss TUMBLERS. 


Ruby red and white texture. Decoration of coat-of- 
arms, foliations, and grapevine designs. 


70—PAIR GOBLET-SHAPE VASES. 
Ruby red and white Bohemian glass. 


71I—OLpD BoHEMIAN GLASS GOBLET. 


Ruby red and white. Engraved ornamentation of 
landscape, deer and hare. 


72—OLD BOHEMIAN GLASS VASE. 


Ruby red and white. Engraved views of famous 
castles. 


73—FivE OL_p BOHEMIAN GLass VASES. 
Hexagonal shape; ruby red and white texture. 


74—OLpD BoHEMIAN GLAss DECANTER. mera one 
Ruby red and white. 


75—Ei1cHtT O_tp BOHEMIAN GLass FINGER Bow Ls. 
Ruby red. Four with engraved coat-of-arms. 


Two sizes. 


76—Four Otp BoHEMIAN GLASs TUMBLERS. 
Octagon shape; ruby-red texture. 3 


77-—RuBy-RED GLass Disu. 
Cut-star pattern foot. 
Diameter, 9% inches, 
78—DECANTER. 
Ruby red and white glass. 


79—BOHEMIAN GLass VASE. 
Ruby-red texture. Engraved grapevine decoration. 
Height, 914 inches. 
80—OLp BOHEMIAN GLASS VASE. 
Low form. Ruby red and white. 
Diameter, 8 inches. 
81—Otp BoHEMIAN Fruit DIsH. 
Ruby red and white glass ; repoussé silver-plated foot. 


82—CRACKER JAR. 
Barrel shape. Ruby red aad white glass. 


Height, 8% inches; diameter, 7% inches. 


83—CAKE TRAY. 


Ruby red and white glass. 
Diameter, 10 inchés. 


84—OLp BoHEMIAN DECANTER. 
Ruby red and white; gilt decoration. 
Height, 1314 inches. 
_ 85—OLp BoHEMIAN Fruit Bow. 
Ruby red; gilt decoration. 
Diameter, 10 inches. 
86—OLp BOHEMIAN COVERED VASE. 


Ruby red. Engraved dedication, 50th Anniversary 
Birthday Gift. 


Height, 14 inches. 
87—Pair TALL VASES. 
Old Bohemian ruby red and white glass; gilt deco- 
ration. 
Height, 13 inches. 
88—Patr OLD BOHEMIAN TALL VASES. 
Light-green texture. Elaborate gilt decoration. 
Height, 154 inches. 


89—TWwELvE Baccarat LIQUEUR GLASSES. 


Green and white crystal glass; square bases. 


gO—TWELVE WINE GLASSES. 
To match the preceding. 


oI—TrEn TALL CHAMPAGNE GLASSES. 
To match the preceding. 


Q2—TWwELvE BaAccARAT GOBLETS. 
Green and white crystal glass. Cut-star pattern foot. 


93—Two Pint DECANTERS. 


Green and white crystal glass, to match the pre- 
ceding. 


94—CAMEO GLASS JAR. 


Flowering plant, in relief, in golden brown. 
Height, 64% inches; diameter, 9 inches. 


Q5—TABLE PLATEAU. 
Louis XV. design, in gilded brass. Mirror panel. 


g6—Four COASTERS. 


Two, old English plate, openwork edge and glass 
foot; the others, wood base with silver rim. 


97—Two PEPPER SHAKERS. 
Empire design; silver plated. 


98—Two Op ENGLISH SKEWERS. 
Silver plated. Renaissance design. 


Q9—INDIVIDUAL COFFEE Por. ; 
Old English silver plate. Repoussé ornamentation. 


100—Four CoASTERS. 
Old English; silver plated. Various designs. 


101—Two BoNBONNIERES. 
Sterling silver. Repoussé and openwork border. 


102—-[' wo Bonson DISHES. 


One sterling silver. Grapevine border in relief; the 
other, old English, silver plated. 


103—SILVER-PLATED Fruit DisH. 
Openwork pattern; bead edge. 


I04—SILVER SALAD ForRK AND SPOON. 
Reproduction of old Dutch. 


105—Toast RAck. 
Old English; silver piated. 


I06—DECANTER STAND. 


Sheffield plate. Large size, high-rim caster or mag- 
num stand. Period of George III. Side decorated 
with reticulated work and the rim with grapes and 
leaves in high relief. Stamped with six marks. 
Probably the joint work of J. Bell and Boulton 
shops. 


107— WHISKEY CASK. 


Cut glass, with silver-plated mountings; has silver- 
plated stand. 


108—Pair CANDLESTICKS. 
Colonial design; silver plated. 


1090—Four SILVER-PLATED CANDLESTICKS. 
Column designs. 


IIO—TALL CANDLESTICK. 
Old Sheffield; silver plated. 


111—Two Pairs TALL CANDLESTICKs. 
Old Sheffield; silver plated; floral sprays in relief. 


I12—Pair TALL CANDLESTICKS. 
Silver plated; antique designs. 


113—Pair CANDLESTICKS, 
Silver plated; grapevine design. 


114—Ecc BolILer. 
Silver plated. 


115—Ice BASKET. 
Silver plated. Old English style. 


116—EcGcG CASTER. 
Old English; silver plated. 


117—Ova_ DisH. 
Silver plated. Old English. 


118—RounpD SILVER-PLATED TRAY. 


Engraved medallions and foliated scrolls. 


119—Two Fern DIsHEs. 
Silver plated; openwork design. 


120—COVERED JAR. 


With hinged lid. Old English; silver plated; en- 
graved ornamentation. 


121I—Two SILVER-PLATED STANDS. 
With medallion and mask ornaments. 


I122—SILVER CASKET. 


Dutch reproduction of a French casket of the mid- 
dle of the eighteenth century. Sides and cover rep- 
resent rural festivals in high relief. Gilt inside; 
has lock and key. Stands on four feet. 

Size, 34% x 4% xQ inches. 


123—Pair ANTIQUE CANDLESTICKS. 
Fitted with engraved glass shades. 


124—Four PLATES AND CUPS. 


Old English china. Decoration in rose-pink, blue 
and yellow. 


125—Four PorcELAIN PLATES. 


Manifaitura Ginori. Floral decoration in various 
colors. 


126—S1x OLp SpopE PLATES. 


Rope edge. Finely painted decoration, “The Co- 
lossus of Rhodes,” and similar subjects. 


127—THREE OLD Lowestorr PLATES. 
Figure medallion and grapevine borders. 


128—E1cut PIEcES or OLp WEDGWOOD. 


Six plates and three oval dishes of leaf pattern, 
coated with an ivory-white glaze. 


129—THREE OLD WepDGwoop FRuiT BASKETS. 


With trays. Basket pattern openwork and green 
borders. 


130—THREE PIECES OF CHINA. 


Old English platter and two soup aisties Floral 2 a 
decoration. ; : 


131—Two CovereD PITCHERS. 


Old French porcelain. Finely painted floral medal- 
lions. Coral-red glaze and gilded edges. 


132—COVERED SouP TUREEN AND PLATTER. 


Old Creil; impressed mark. Bacchanal medal- 
lion and grapevine borders printed in sepia. 


133—OLpD CreIL CorFEE Por. 


Decoration, Le Jour, La Nuit. Printed in sepia. 
Impressed mark. 


134—COVERED PITCHER. 
Old German faience. 


135—O.Lp Lowestorr CHINA. 


Decoration in sepia and gold. Teapot, sauce tureen, 
sauce boat and tray and plate. 


136—SEvres Bow on Tact Foor. 


Buff and gold bands and scroll borders in colors. 
Louis Philippe. 


137—T wo TUREENS AND Ova DisH. 


Old French china. Decoration in enamel colors and 
gilding. 


138—Four Cups AND SAUCERS. 


Old Staffordshire. Floral panels on a dark-blue 
ground. Decoration in copper lustre. 


1390—NINE PLates. 


Five old French porcelain; borders of fruits and 
vines. Four Dutch faience, with crown and initial 
W. in red, white and gilding. 


~140—-NINE AssorTED PLATES. 
Old Staffordshire. Davenport, Italian and French. 


14I1—CuPs AND SAUCERS. 


Old Staffordshire. Decoration in sepia. Imprint, 
Vermisilla. 


142—Two LarGE Cups AND SAUCERS. 
Old French porcelain, richly decorated. 


143—Five TEACUPS AND SAUCERS. 
Old Staffordshire. Floral decoration. 


144—THREE LarGE Cups AND SAUCERS. 
Buff and gold bands. (One repaired.) 


145—AFTER-DINNER COFFEE CUPS AND SAUCERS. 
Nine specimens of various makes and decoration. 


146—CovVERED CUP AND SAUCER. 
Sevres style. King’s blue glaze. Gold matte deco- 
ration. 


147—OLp WeEpGwoop CovEeRED SouP TUREEN. 


Oval shape, with palm-leaf handles. Ivory-white 
glaze and slight decoration in green. 


148—OLp WepGwoop Soup TUREEN AND PLATTER. 
Large size; to match the preceding. 


149—Larce OLD WeEDGEwoop DiIsH. 
Circular shape, with strainer to match. 


150—OLpD FRENCH CHINA FRuIT STAND. 
Floral and gilt decoration. 


15I—OLp SpopE Fruit TRAY. 
To match the preceding. 


152—Fruitr SERVICE. 
Copy of old Worcester. Rich blue and gold bor- 


ders and finely painted floral decoration. Consists = 


of six plates and one leaf-shape fruit tray. 


153—Four Lrear-sHAPE TRAYS. 
Crown Derby style. To match the preceding. 


154—OLp Crown DerBy WARE. 


Richly decorated with floral medallions, with blue 
and gold borders. Rope edge. Consists of 23 plates, 
two sizes, eight platters of various sizes, one cov- 
ered sauce tureen and two shell-shape fruit trays. 
(Three plates repaired.) 


155—Twetve Deep Otp BorpEAux PLATES. 


Scalloped edge. French faience style. Decoration 
of rich-plumage birds and floral design; basket- 
pattern border. 


156—Spope’s IMPERIAL CHINA. 


Plate and small platter. Floral and other decora- 
tion in blue, red and gold; rope edge. 


157—Twetve GAME PLATES. 


Derby china. Blue and gold borders; rich-plumage 
birds and various insects finely painted in white 
panels. 


158—NineE Davenrort DINNER PLATES. 


Floral decoration, painted in bright enamel colors. 
Lavender-color borders and gilt edge. 


159—NineE Ovp FreNcH CuinaA DINNER PLATES. 
Decoration of floral sprays in delicate colors. 


160—TWELVE DESSERT PLATES. 


Spode. Floral vines, painted in enamel colors and 
gold. 


161—EMPIRE DESSERT SERVICE. 
Sevres. Louis Philippe, 1833. Buff and gold bor- 
ders, with decoration of various bon mots. Con- 
sisting of 12 plates and ice-cream compote. 


162—S1x PorcELAIN Dessert PLATES. 


Le Rosey, Paris. Gilt edge. Crest and monogram 
in colors. Marked, Prihourt Lerosay. 


163—OLp ENGLISH CHINA. 


Decoration in pink and blue. Consists of five plates 
and four cups. Marked “ Cleopatra.” 


164—SIXTEEN PLATES. 
Old French porcelain. Floral bouquets and sprays 
finely painted in enamel colors. Consists of eight 
soup and eight dinner plates. 


165—Two Ovat MEAT PLATTERS. 
To match the preceding. 


166—OvAL VEGETABLE DISH. 
To match No. 164. 


167—-ENGLISH DINNER WARE. 


“Daniel.” Ivory-white texture, with turquoise-blue 
border and gilt decoration. Consists of eleven din- 
ner plates, four cake plates, three round covered © 
dishes, sauce tureen and platter, and three meat 
platters. 


168—VALUABLE SEVRES PORCELAIN DINNER WARE. 


Mark, S 57. Decoration of floral bouquet and sprays 
and gilt borders. Consists of 17 soup plates, 12 
dinner plates, 12 breakfast plates, 3 three large 
round dishes, I low compote, 2 round covered vege- 
table dishes and 2 relish dishes. 


169—DINNER WARE. 


Chamberlain’s Worcester. Decoration of fine bor- 
ders in violet and green, and monogram R. M. in 
gold and violet. Rope borders. Consists of 24 large 
dinner plates, 2 large covered vegetable dishes and 
3 meat platters. 


170—HAVILAND’S LimocEs TABLE SERVICE. 


Gilt edge, and bearing Mr. Mansfield’s yacht pen- 
nant. Consisting of 12 soup plates, 11 dinner plates, 
6 breakfast plates, 23 dessert plates, 6 porridge 
bowls, 1 oval vegetable dish, 4 round deep dishes, 
I round dish without cover, 2 round platters, 4 oval 
platters, 1 covered dish, I sauce boat, 1 milk pitcher, 
I creamer, 12 egg cups, 2 mustard pots, 13 teacups 
and saucers, 11 individual butter plates and 10 after- 
dinner coffee cups. 


17I—OLpD FRENCH PoRCELAIN TABLE SERVICE. 


Buff border, with gilt decoration, consisting of 18 
soup plates, 36 dinner plates, 24 breakfast plates, 
22 small deep plates, 12 meat platters, various sizes; 
1 fish dish, 4 low compotes, 6 covered vegetable 
dishes, I large soup tureen, 2 sauce boats and plat- 
ters, 2 covered sauce tureens and platters, 2 oval 
dishes, 2 relish dishes, salad bowl, 15 after-dinner 
coffee cups and saucers, 18 covered custard cups and 
stands. 


172—OLpD FRENCH PorcELAIN TEA WaRE. 


Blue and gold, with finely painted floral medallions. 
Consists of 2 teapots, one without lid; sugar bowl 
(imperfect), milk pitcher, large bowl, 9 cups and 
saucers. 


173—NINE OLp SPODE PLATES. 


Blue and gold border of basket ice “nly ‘ 
painted decoration of floral bouquets. ee 


174—Patr OLp Ficures. 
Poodle dogs. 


175—Two OLD CHELSEA STATUETTES. 
The gardener. 


176—STATUETTE. 
Boy feeding chickens. Old German. 


177—Two OLp CHELSEA STATUETTES. 
Fisherwoman, and the Huntsman. 


178—Two OLD CHELSEA FIGURES. 
Sheep and lamb. 


179—OLD CHELSEA FIGURES. 
Two zebras. 


180—Two OLp GERMAN STATUETTES. 
King and Consort. 


181—OLD VIENNA STATUETTE. RA 
Hiawatha. 


182—-CoPENHAGEN STATUETTE. 
Mother and child. 


183—OLD GERMAN STATUETTE. 
Young girl. 


184—OLp CHELSEA STATUETTE. 
Young organ grinder and monkey. 


185—Patr OLD GERMAN STATUETTES. 
Cobbler and his wife. 


186—Two [nx HOovpers. 
Recumbent greyhound. Old Paris. 


187—OLD CHELSEA FIGURE. 
Poll parrot. 


188—OLp CHELSEA STATUETTE. 
Young Bacchus. 


189—Two OLD CHELSEA STATUETTES. 
“ Neptune ” and “ Faith.” 


190—PairR FRANKENTHAL FIGURES. 
Pastoral figures with floral baskets. 


191—Otp GERMAN INKSTAND. 
Doves in relief. 


192—OLD GERMAN PorCELAIN INKSTAND. 
With group, “ Grandfather’s Darling.” 


193—Pair O_p CHELSEA Fi1GuREs. 
“ King and his queen.” 
Height, 10 inches. 
194—MINTON PariAn Group. 
Boy and donkey. 


195—OLp FRENCH Bisque FIGURE. 


“ Autumn,” by Binet. Gilt brass base in Louis XV. aa 
style. 
Height, 14 inches. 


196—OLD GERMAN GROUP. 


Pastoral subject. | 
Height, 11 inches; diameter, 9 inches. 


197—Pair OLD GERMAN PoRCELAIN CANDLESTICKS. 
Vase design; bisque. Pastoral figures in relief. 
Height, 14 inches. 


198—Capo-p1-MonTE GROUP ON STAND. 


Directoire figures and floral designs in intricate 
workmanship; ivory-white glaze. 
Height, 1714 inches. 


199—PairR OLD GERMAN PORCELAIN VASES. 


Decorated. Neptune and mermaid supporting cor- — ; 


nucopias. | 
Height, 1614 inches. 


200—MINTON’S FrRuIT BASKET. 


Figures of cupids in relief. Blue and white, ivory- 
white glaze, and gilt borders in outline. 
Height, 12 inches; diameter, 11 inches. 


20I—PAIR ENGLISH CANDELABRA. 


For four candles each. Ivory-white texture. Blue 
and gold decoration. 
Height, 18 inches. 


202—Patr O_tp FRENCH CHINA VASES. 


Cornucopia shape. Coral-red glaze; floral medal- 
lions and scrolls in gilding. 


203—OLp FreNcH FLOWER VASE. 
Decoration of birds and flowers in bright enamel 
colors. 


204—FRENCH PoRCELAIN VASE. 
Gold lacquer ground, with decoration in Rhodian 
style. 
Height, 11 inches. 
205—OLD GERMAN JUG. 


Finely painted decoration, after Adrian Brouwer. 
Height, 12 inches. 


206—Pair DECK VASES. 


Tall cylindrical shape. Turquoise-blue glaze, with 
decoration of Oriental designs in black. 
Height, 17% inches. 


207—PaIR SMALL VASES. 
Old English faience. Decoration in colors and gild- 
ing. 


208—INDIAN Pottery, Muc AND Bow L. 
Crudely decorated. 


209—OLtp RuHopIAN BowL. 
Figures and lilies in rich opaque colors, over an 


ivory-white glaze. 
Height, 4 inches; diameter, 6 inches. 


210—SMALL FAIENCE VASE. 
Green running glaze. Silver mountings. 


211—FAIENCE VASE AND Bow. 
Iridescent glaze, in imitation of old Greek glass. 


212—O.Lp FRENCH PoRCELAIN INKSTAND. 
Decorated. 


213—OLp CHINESE CovERED Bow L. 
Globular shape. Decoration in salmon and gold. 
Height, 614 inches; diameter, 5% inches. 


214—OvIFORM VASE. 


Japanese faience. Rich blue glaze, with crests and 
ferns pencilled in gold. Iris and morning glories 
in two celadon panels. ¢ 

Height, 9 inches. 


215—ITALIAN FaAIENCE Ewer. 


Mermaid handle. Decoration in blue, yellow, green 
and brown. 
Height 10 inches. 


216—ITALIAN FAIENCE OvirorM JAR. 
With scroll handle. Decoration of rampant bulls, 
deer, flowering plants and other designs painted in 
yellow, brown and green. Blue fret and gadroon 


borders. 
Height, 13 inches; diameter, 8 inches. 


217—OLp FAIENCE BorrLe-SHAPE VASE. 


With dented sides and four rudimentary handles on 
shoulder ; coated with a mottled brown glaze. 


Height, 14 inches. 


218—OLp FRENCH FAIENCE VASE. 


With cover. Landscapes and other designs painted 
in green. 
Height, 16 inches; diameter, 7 inches. 


219—O1p DELFT PLAQUE. 


Decoration in dark cobalt blue. 
Diameter, 13% inches. 


_ 220—JAPANESE CLOISONNE ENAMEL VASE. 


Oviform. Chrysanthemum in green and white on 
an opaque ground. 
Height, 12 inches. 


221—SAKE BOTTLE. 


Old Japanese pottery, hexagonal shape ; coated with 
a thick green crackle glaze. 
Height, 5% inches. 


222—(GOURD-SHAPED VASE. 


Chinese porcelain, coated with a mottled apple- 
green glaze. 


223—-OVIFORM VASE. 


Royal Berlin porcelain, coated with a flambé glaze 
in imitation of an old Chinese specimen. 


Height, 8%4 inches. 


224—OvIFORM Bort te. 


Chinese hard paste of the Clvien-lung period. In- 
vested with a red and purple flambé glaze. 


Height, 8 inches. 


225—OVvIFORM JAR. . aa 
Japanese stoneware, coated with a thick Raku glaze. — 
Height, 8% inches. 


226—TALL CYLINDRICAL VASE. 
Chinese dense porcelain ; enamelled with a red glaze 
of the Lan-Yao type. Modern production. 
| Height, 16 inches. 
227—-BoTTLE-SHAPE VASE. 


Modern Chinese porcelain. Blue and white haw- 


thorn decoration. 
Height, 15 inches. 


228—CHINESE PORCELAIN BowL. 


Storks and cloud forms on a dark-blue ground. 
Height, 7 inches. 


229— TEMPLE JAR. 
Chinese porcelain of the Ch’ien-lung period. Deco- 
ration of tree peonies, chrysanthemums and other 
designs in brilliant-enamel colors on a clouded green 


ground. 
Height, 14 inches. 


230—Pair CANTON VASES. 


Oviform. Figures, flowers and symbols painted in 


enamel colors (one defective). 
Height, 14% inches. 


231—LOWESTOFT COVERED VASE. 


Medallion and panel decoration of Chinese land- 
scape in sepia brown. Floral sprays, grapevine and 
pomegranates in blue and red and gilding on a 


salmon-color ground. 
Height, 11% inches. 


232—ANTIQUE FRENCH JARDINIERE. 


Celadon bowl, mounted in chiselled and gilt brass. 
Louis XVI. : | 
Height, 9 inches. 


233—Pair SPANISH FAIENCE URNS. 


Cream-white glaze; leaf shape and other ornaments 
painted in green. 
Height, 12% inches. 


234—OLD VENETIAN FAIENCE URN. 


Relief ornamentation under an ivory-white glaze. 
Coats-of-arms in four panels. 
Height, 15% inches. 


235—Composition Bust. 


“The Jolly Friar.” 
Height, 1814 inches. 


236—Artistic Lire-sizeE TERRA Cotta Bust. 


Of Camillo Benso di Cavour, an illustrious Italian 
statesman, who died in 1861. 
Height, 31% inches. 


237—Pair TERRA Cotta FIGURES. 


The bird’s nest. 
Height, 29 inches. 


238—Portrait Bust oF A FEMALE. 


Italian. Artistically modelled in terra cotta, and 
enamelled and decorated. Has base. 
Height, 22 inches. 


2390—TeErRRA Cotta Bust or A YoUNG MAN. 


Reproduction of an antique, glazed in imitation of _ 
a bronze. Gh 
Height, 16% inches. 


240—UMBRELLA STAND. 


Doulton faience. Relief and painted decoration; 
brown and yellow glaze. 


241—LaARGE PLANT Jar. 


Japanese faience, coated with a splash glaze. 
Height, 9% inches; diameter, 15 inches. 


242—LARGE PLANT JAR. 


Finely painted decoration of landscape. (Repaired. ) 
Height, 13% inches; diameter, 16 inches. 


243—LAaArRGE PLANT JARS. 
Doulton faience. Globular shape. Yellow glaze, 
with figure and garden scene painted in brown. pe 
Height, 13% inches; diameter, 16 inches. _ 


244—Two CELADON PLANT JARS. 


Octagon shape. Chinese thick porcelain. Archaic 
designs carved in relief under a white and lavender 
glaze. 


~~ 


Height, 10 inches; diameter, 1114 inches. 


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245—LARGE PLANT JAR. 


pone 


Oriental porcelain. Pine tree, peonies and border 
designs painted in rich underglaze blue. 


Height, 15 inches; diameter, 18 inches. 


246—JAPANESE BRONZE PLANT JAR. 
Globular shape. Bold dragon and sparrows in relief 


casting. | 
Height, 15 inches; diameter, 16 inches. 


247—JAPANESE BRONZE PLANT JAR. 
Globular shape. Birds, with branches of cherry 


blossom in relief casting. 
Height, 1334 inches; diameter 15 inches. 


248—Pair Brass PLANT JARS. 
Repoussé. Globular shape on tall foot. Lion head 
and loose ring handle. 
Height, 29 inches; diameter, 17 inches. 


WILLIAM HOGARTH 


A SERIES OF LINE ENGRAVINGS BY THOMAS COOK 
(1744-1818), AFTER THE ORIGINAL ENGRAVINGS 
BY WILLIAM HOGARTH. 


ee 


Much that we could do but imperfectly with the pen, 
Hogarth has done imperishably with the graver. Essentially 
metropolitan in his tastes, there is little notable in the London 
of his day of which he has not left us some pictorial idea. He 
has painted the Green Park, The Mall, and Rosamond’s Pond. 
He has shown us Covent Garden and St. James’s Street; Cheap- 
side and Charing Cross; Tottenham Court Road and Hog-Lane, 
St. Giles’s. He has shown us Bridewell, Bedlam, and the Fleet 
Prison. . . . He takes us to a cock-fight in Bird-Cage Walk, 
to a dissection in Surgeons’ Hall. . . . He gives us, unro- 
manced and unidealized, ‘the form and pressure’, the absolute 


details and accessories, the actual mise-en-scéne of the time in - 


which he lived.”—Austin Dosson: William Hogarth, pp. 8-9. 


“T esteem,” says Fielding in the “Champion” (June roth) 
“the ingenious Mr. Hogarth as one of the most useful Satyrists 
any Age hath produced. In his excellent Works you see the 
delusive Scene exposed with all the Force of Humour, and, on 
casting your Eyes on another Picture, you behold the dreadful 
and fatal Consequence. I almost dare affirm that those two Works 
of his, which he calls the Rake’s and the Harlot’s Progress, are 
calculated more to serve the Cause of Virtue, and for the Preser- 


vation of Mankind, than all the Folios of Morality which have | 


been ever written; and a sober Family should be no more with- 
out them, than without the Whole Duty of Man in their House.” 


cf 
_— 


eee "habla Pe 


249—PortTRAIT OF WILLIAM HoGarTH. 


The best portrait. It is in the National Gallery, 
Pee London. The dog is his favorite pug “ Trump.” 


250—PortTRAIT OF JOHN WILKES and THE FIVE ORDERS 
oF PERIWIGS. eee Saye 

Rad +. Ee 

Two subjects upon one plate. : “i 

“In May, 1763, Wilkes was brought to Westminster Hall 

upon his trial for libel, and Hogarth found opportunity to 

sketch him. . . . If this really resembled Wilkes (and 

Wilkes himself allowed it did) he must have.-carried in his 

face a confirmation of some of the worst vices that have 

been laid to his charge.’—AustiIn Dorson: William Ho- 
garth, pp. 172-173. 


A Pa 4) ph 
P) Ye /) fp W/ 
251—PorRTRAIT OF SIMON, LoRD Lovat.V ftv J. / 
5 , Yi ritkhe 


3. 370 In August, 1746, the notorious Simon Fraser, Lord 
Lovat, was brought in a litter to St. Albans on his way to 
London, where he was tried, and subsequently executed on 
Tower Hill. Upon the invitation of a local physician 
(Samuel Ireland’s friend, Dr. J. Webster) Hogarth went 
to St. Albans to meet him. . . . The short, squat figure, 
the crouching attitude, the crafty eyes, and the ‘pawky’ 
expression of Lovat as he counts over the various High- 
land clans on his fingers, are admirably rendered; and it 
is no wonder that this most effective sketch, having besides 
its own merit all that of an d-propos, should have been 
widely popular.”—Austin Dosson: William Hogarth, p. 
19. 


q 
(/ 4} 
ff.) is 
252—Portralt OF MarTIN FoOLKEs. 4/ & , ts bie 
SPs , Mathematician, antiquary and a vice-president of 


the Foundling Hospital. 


253—Portrait or Dr. BEN[AMIN Ho , BISHOP OF 
WINCHESTER. . . 


y ; v7 “. , . . that full-blown and prosperous prelate .. . 
whose copious paragraphs Pope, mindful of His Grace’s 
Hanoverian propensities, had satirized in the 

‘ Swift, for closer style, 
and Hoadly for a period of a mile.’ 
of the second imitation of Donne.” 


254—PortTRAIT OF C. CHURCHILL. £, [/ f 


“The Bruiser,’ C. Churchill (once the Rev'd !) in the 
PRS We Character of a Russian Hercules, Regaling himself after 
having kill’d the Monster Caricatura that so Sorely Gall’d 

his Virtuous Friend, the Heaven-born Wilkes.” 


THe LAUGHING AUDIENCE. 


pee REHEARSAL OF THE ORATORIO OF “ JUDITH.” 


j AN EMBLEMATIC PRINT THE SoyTH ,SEA 
Ke SCHEME, Prec l PR. 
Three subjects upon one plate. 


“The Laughing Audience” was engraved as a Subscrip- 
tion Ticket for “ A Rake’s Progress.”—1734. 


at 


THE SLEEPING CONGREGATION. 
2504 CoLuMBUS BREAKING THE Ecc. 


MASQUERADES AND OPERAS, BUR 


ee GATE. 
late, "ie 
by Plate ee a 


Three subjects upon o 


“In ‘The Sleeping CODE TCaahion * the slumbering au- 
ditory are poorly treated ;but the Rev. Dr. John Theophilus 
Desaguliers . . . . and his pompous clerk, struggling 
between drowsiness and the ill-guarded attractions of the 
pretty girl at his side who has fallen asleep with her prayer- 
book open at ‘ Matrimony,’ are not to be improved upon.”— 
Austin Dosson: William Hogarth, p. 68. 


as 7 


ad J.o° 


257—SERIES OF ILLUSTRATIONS FOR HuDIBRAS, AND 


BuTLer’s HEap. 
Twelve plates upon seven sheets. One lot. 


574—Kine Henry VIII. anp ANNE BOoLeyn. 


257B—A MipnicHut MoperN CONVERSATION. 


257C—SARAH Matcotm. THE BENcH. 


a 


Two subjects upon one plate. ok 
aa 


\ 257D—SANCHO AT THE Feast StTarveD By His Puy- 


SICIAN. 


258—A RakKeE’s PROGRESS. 


Veg do 


~ I. He Takes Possession. V. He Marries. 
II. His Levee. VI. He Gambles. 
III. ( Missing.) VII. (Missing.) 
IV. He Goes to Court. VIII. In Bedlam. 


Six pieces (should be eight, th 
are missing). One lot. Vp. 


“In the first plate ‘Tom Rakewell’ has éntered suddenly 
upon his inheritance. In a jumble of leas, bonds, and the 
miscellaneous hoardings of avarice, he is being measured 
for his mourning. Already his knavish attorney plunders 
him; and he himself begins badly by casting off the poor 
girl whom he has ruined while at Oxford. 

The next plate (The Levee) transforms the clumsy lad 
into an awkward man-of-fashion. . . . In the next scene 
he enters upon the first stage of his decline. He is igno- 
miniously arrested for debt in St. James’s Street, as he is 
going to Court on Queen Caroline’s birthday, also St. 
David’s Day, as is indicated by an irascible-looking Welsh- 


ird and seventh , 


: man with an enormous leek in his hat. . . . Inthe plate 

that follows he is repairing his fortunes by an alliance in 
old Marylebone Church, then much used for private mar- 
riages, with an elderly heiress. The bride is one-eyed, and 
tremulously exultant; the bridegroom indifferent, and al- 
ready engrossed by the good-looking lady’s-maid. 
Plate VI. shows him in a Covent Garden gaming-house. 
He has lost all his recently acquired wealth, and flings him- 
self upon the ground in a paroxysm of fury and execration. 
In allusion to the burning of White’s, in April, 1733, flames 
are seen bursting from the wainscot, but the absorbed gam- 
blers take no heed. . . . The last scene is in Bedlam. 
He is an incurable maniac, fettered and dangerous, who 
tears at himself with the heartrending laugh of the insane.” 
—AvusTIN Dozsson: William Hogarth, pp. 53-54. 


259—SOUTHWARK Fair. ae L, Uy eee 


“This festival (or carnival) was suppressed in 1762; but 

in 1733, when Hogarth drew it, it was diligently frequented, 

747 .?? during the fortnight for which it was held, by ‘persons of 

[ all distinctions of both sexes.’ Its notabilities are faithfully 

depicted. Elkanah Settle’s droll of the ‘Siege of Troy,’ 

as given at Lee and Harper’s booth; the ‘ posture-master ’ 

and ‘curious Indian birds’ of Mr. Fawkes, the conjuror; 

the wax-work, exhibiting ‘the whole Court of France’; 

Miller or Miller, the Leipzic giant; Violante, the tumbler; 

Cadman, the steeple-flyer—all these have been carefully set 
down.”—AustTIn Dosson: William Hogarth, p. 58. 


a 


259A—-WOMAN SWEARING A CHILD TO A GRAVE CITIZEN. 
co 
\2598—" BEFORE.” 


tom 
260—THE DISTRESSED Porites 7 : | 


/ 00 “Was Oliver Goldsmith’ thinking of the Distressed Poet 
fe when, in August, 1758, he described himself to his friend 
Bob Bryanton as ‘in a garret writing for bread, and expect- 


Ty 


ing to be dunned for a milk score’? Except that the milk- 
maid has already arrived, and is angrily exhibiting her tally, 
this is the precise status quo of Hogarth’s print. The poor 
verseman, high in his Drury Lane or ‘ Porridge Island’ 
sky-parlour, has risen by candlelight to finish a poem on 
‘Riches’ for some contemporary Curll. . . . Neither 
the map of the ‘Gold Mines of Peru’ nor ‘all his books 
around ’—a magnificent total of three, the ‘Grub Street 
Journal’ on the floor not included—can help him at his 
need. Meanwhile his vociferous creditor . . . clamours 
for the score; a dog, which has entered with her, steals 
the meagre meal; the cupboard is bare, and the wind whis- 
tles ‘through the broken pane.’ - He has a consolation, how- 
ever, that poor Goldsmith lacked through life, one of the 
sweetest female companions that Hogarth ever drew.”— 
Austin Dosson: William Hogarth, pp. 79-80. 


It is thought that the Poet was meant for Lewis 
Theobald, the editor of Shakespeare, and the 


-. original hero of the Dunciad. It has also been 


261—Four TIMES OF THE Davy. 


jae 


said to represent Thomas Rymer, the critic and 
antiquary. 


Morning. Evening 
Noon. Night. {(/ 
Four pieces. One lot. 


“The engravings of the Four Times of the Day are dated 
March 25, 1738. They represent three scenes in London and 
one at Islington. The first plate shows us Covent Garden 
at early morning on a winter’s day, with a disorderly com- 
pany coming out of ‘Tom King’s Coffee House’; the sec- 
ond, a congregation issuing at noon, on Sunday, from the 
French chapel in Hog Lane, St. Giles (now Crown Street) ; 
the third, a citizen and his wife returning from Sadler’s 
Wells on a sultry summer’s evening, and the fourth, the 
neighborhood of Charing Cross at night, on ‘ Restoration 


Day, with the ‘Salisbury Flying Coach’ upset in the 
middle of a bonfire. . . . All are filled with a multi- 
plicity of detail that deserves careful study. The uproarious 
misery of the lad in Noon, who has broken his pie-dish by 
resting it too heavily upon a post, and the delightful cox- 
combry of the Frenchman in his ailes-de-pigeon and soli- 
taire, the much-enduring dyer and his melting wife in 
Evening, and the drunken freemason in Night, are excel- 
lent. But the cream of the characters represented is cer- 
tainly the censorious prude in the first scene, with her lank- 
haired and shivering footboy. She is said to have been an 
aunt of the painter, who, like Churchill, lost a legacy by too 
inconsiderate a frankness. Fielding borrowed her linea- 
ments for the portrait of Miss Bridget Allworthy, and 
Thackeray has copied her wintry figure for one of the 
initials to the ‘Roundabout Papers.’”—Austin Dogson: 


Wiliam Hogarth, p. 73. 


262—STROLLING ‘ACTRESSES DRESSING IN A BARN. 


“The play to be represented is ‘The Devil to Pay in 
ud fo Heaven.” . . . In the centre Diana, not much more 
. closely clad than Shakespeare’s ‘ chariest maid,’ 

“Tf she unmask her beauty to the moon,’ 
recites (and probably rants) her part. Near to her Flora 
is tallowing her hair, while Night (a negress) darns a hole 
in Juno’s stocking. Jupiter, rubente dextra, is peaceably 
superintending the removal by Cupid of some stockings 
from the pasteboard cloud upon which they have been hung 
to dry. Ganymede, a siren, and Aurora are engaged in 
mutual civilities; the eagle is feeding her baby with a 
spoon; the Witch clips a cat’s tail to get blood for scenic 
purposes, and two boy-devils—their foreheads budding with 
their first horns—are fighting at an altar for a pot of beer. 
The plate is crowded with minute strokes of humor—such 
as the fowls roosting upon the waves, the crown jewels 
in a hamper, the kittens sporting with the orb, the plays in 
the bishop’s mitre.’—Austin Dogsson: William Hogarth, 


Pp. 74. 


263— MarriAGE-A-LA-Mope. 


I. The Contract. (jp A Y, eu? 
II. The Breakfast Scene. PO. UY ty/m 
II, The Scene with the Quack. 


7) aaa 
IV. The Toilet Scene. 
V. (Missing.) 


VI. The Death of the Countess. 


Five pieces. (Should be six. This set lacks No. 
Never One-lot. 

Of this, as of his other series of “ pictur’d Morals,” 
Hogarth himself writes: 


“*Tn these compositions, those subjects that will both en- 
tertain and improve the mind, bid fair to be of the greatest 
public utility, and must, therefore, be entitled to rank in 
the highest class. . . . I have endeavoured to treat my 
subject as a dramatic writer; my picture is my stage, and 
men and women my players, who by means of certain ac- 
tions and gestures are to exhibit a dumb show.” 


“The plot, like that of all masterpieces, is extremely sim- 
ple. An impoverished nobleman who marries his son to a 
rich citizen’s daughter; a husband who, pursuing his own 
equivocal pleasures, resigns his wife to the temptations of 
opportunity; a foregone sequel and a tragic issue :—this 
material is of the oldest, and could make but slender claim 
to originality. . . . Yet combined and developed under 
the brush of Hogarth, set in an atmosphere that makes it 
as vivid as nature itself, decorated with surprising fidelity, 
and enlivened with all the resources of the keenest humour, 
it passes out of the line of mere transcripts of life, and re- 
taining the merits of the specific and particular, becomes a 
representative and typical work, as articulate to-day, as 
direct and unhesitating in its teaching, as it was when it 
was first offered to the world.”—Austin Dopson: William 
Hogarth, pp. 88-89. 


264—INDUSTRY AND IDLENESS. 


/7ee 


This set is incomplete. It comprises the following 

plates : 

Plate 1. The Fellow ’Prentices at Their Looms. 

Plate 6. The Industrious ’Prentice out of His Time 
and Married to His Master’s Daughter. 

Plate 8. The Industrious ’Prentice Grown Rich 
and Sheriff of London. 

Plate ro. The Industrious ’Prentice Alderman of 
London, The Idle One Brought before Him 
and Impeached by His Accomplice. 

The Industrious ’Prentice Lord Mayor of London. 

Plate 3. The Idle ’Prentice at Play in the Church- 
yard during Divine Service. 

Plate 5. The Idle ’Prentice Turned Away and Sent 
to Sea. 

Plate 7. The Idle *Prentice “Retumeq witonis oc 
and in a Garret with a Common Prostitute. 
Plate 9. The Idle ’Prentice Betrayed by His Whore 
and Taken in a Night Cellar with His Ac- 

complice. 

The Idle ’Prentice Executed at Tyburn. 


Ten pieces. One lot. 


“Industry and Idleness, says Hogarth himself, ‘exhibited 
the conduct of two Fellow-prentices; where the one, by 
taking good courses, and pursuing those points for which 
he was put apprentice, becomes a valuable man, and an 
ornament to his country; whilst the other, giving way to 
idleness, naturally falls into poverty, and most commonly 
ends fatally, as is expressed in the last print.’ ; 
There is no more eloquent stroke in the whole of Hoparth 
than that by which the miserable player of ‘halfpenny- 
under-the-hat’ in Plate III. is shown to have but a plank 
between him and the grave; nor is there anything more 


vivid in its squalid realism than the episode in Thomas 
Idle’s career to which Dr. King subjoined for epigraph— 
“The sound of a shaken leaf shall chase him.’ ””—AvusTIN 
Dozson: William Hogarth, pp. 121-122. 


THe TIMES. 
265 } 
A Country INN-YARD. Y) ff Ah ~ 


~ 


/\ 
. fy 7 | y 
Two subjects upon one pl K, MAL Lis 


“In The Times the ‘ World’ public-house is on fire. Pitt 
on stilts, as the tyrant Henry VIII., and having, in allusion 
to his pension, a millstone inscribed with £3,000 hanging 
from his neck, is exciting the flames; while Bute, played 
upon with a syringe by a featureless man (Lord Temple), 
and a brace of garreteers (Wilkes and Churchill), is direct- 
ing the hose of an engine worked by Highlanders, soldiers 
and sailors. A Grub Street hack, with a barrowful of 
‘Monitors’ and ‘North Britons,’ endeavors to cut the 
supply pipe. . . . To the right Frederick of Prussia 

G-99 ‘fiddles among his weeping subjects, while to the left a 
Dutchman, behind whom a fox peeps out of a kennel, sits 
on a bale watching the proceedings.’—Austin Dosson: 
William Hogarth, p. 170. 


ae O, THE Roast BEEF oF OLD ENGLAND!” 


Showing the Gate of Calais. One of Hogarth’s 
most popular prints. 


267—TuHE Marcy To FINCHLEY. 


“In The March to Finchley he has exhibited all the dis- 
orders of a military dislodgment. While the vanguard are 
winding away to the horizon, the foreground, between the 
“King’s Head’ inn and the ‘Adam and Eve,’ at Totten- 
ham Court Turnpike, is filled with a confusion of depart- 
ure that defies description. Sutlers, soldiers, spies, spec- 
tators and camp-followers are all blended inextricably in 
one of those wonderful crowds of which he had already 
given notable example in the Execution scene of the Ap- 
prentice series.”.—Austin Dosson: William Hogarth, p. 129. 


fp 


367 oa 
268—BEER Pe. Sp th VF. plore 


268a—TuHeE Four STAGES OF CRUELTY. 


First Stage of Cruelty. (Third Missing.) 
Second Stage of Cruelty. Cruelty in Perfection. 


Three pieces. (Should be four.) One lot. 


“The Four Stages of Cruelty are a set of plates exhibit- 
ing the ‘progress’ of one Thomas Nero, who, from tor- 
turing dogs and horses, advances by rapid stages to seduc- 
tion and murder. . . . ‘The leading points in these,’ 

rt says Hogarth, ‘were made as obvious as possible, in the 
ee hope that their tendency might be seen by men of the lowest 
rank. Neither minute accuracy of design nor fine engrav- 

ing was deemed necessary, as the latter would render them 
too expensive for the persons to whom they were intended 
to be useful.’?”--Austin Dosson: William Hogarth, pp. 


133-134. 


2609 PAuL BEFORE Fat, a Ved Bethy é: 


CARICATURE OF THE SAME. 
Cr re Two pieces. One lot. 


ee 


270—MosEes BrRouGHT TO PHARAOH’S DAUGHTER. 


{ 


| 27 
a ANALYSIS OF BEAUTY, PLATE I. 
271 | 
7 ANALYSIS OF BEAUTY, PLATE 2. 


6. ed | Two pieces. One lot. ) 
| Se Fate ha Nadler 


71A—FRONTISPIECE FOR KirBy’S “ PERSPECTIVE.” 


272—Four PLATES OF AN ELECTION. 
I. An Election Entertainment. 


/ ao. 6 il. Canvassing for Votes. Ys: 
‘" “IIL. The Polling. Ve Ab — 
? f1 ; 
IV. The Chairing. a 
Four pieces. One lot. 


273—Tue Invasion. a (3 arly y 
| I. England. aah 


a 3 Two pieces. One lot. 


Pi ae Cock’ Pir. 


“Another print, dated Nov. 5th, 1759, exhibits the old 
Cock Pit in St. James’s Park with all the ‘celestial anarchy 
and confusion’ which, according to Sherlock, characterized 
the pastime of which it was the theatre. Jockeys and cock- © 
breeders, sweeps and Quakers, English Dukes and French 
Marquises, blind men and deaf men—are absorbed in this 
exciting sport. A defaulter, whose shadow only is seen, 
has, in compliance with cockpit law, been drawn up to the 
ceiling in a basket, whence he vainly tenders his watch to 
satisfy his creditors. It is one of the best of Hogarth’s 
later prints.’—AustTIn Dopson: Le vi p. oe 


275—THE GooD SAMARITAN. 


Painted on the staircase of St. Bartholomew’s 
Hospital. 


6—BAINBRIDGE ON TRIAL FOR MURDER BY A COM- 
MITTEE OF THE HousE oF COMMONS. 


Tn (a 


THE CoMPANY OF UNDERTAKERS. 
77 


THE LECTURE. | 
Two subjects upon one plate. ms 


LL ae “The Company of Undertakers is a whimsical coat-of- 

i arms, composed of doctors. . . . Conspicuous among 
them, in a harlequin suit, is Mrs. Sarah Mapp, a famous 
bone-setter or ‘shape mistress,’ who enjoyed a brief popu- 
larity circa 1736-7. Two other figures which support her 
have been identified, one as the famous quack oculist or 
‘Ophthalmiator,’ known as the ‘Chevalier’ Taylor, the other 
as the Dr. Joshua Ward to whose nostrums Fielding had 
recourse in his last illness..—Austin Dosson: William 
Hogarth, p. 67. 


278—FInIs; or, THe BATHos. tl 


“A few months before he died Hogarth ber to work to 

prepare a ‘tailpiece’ to his works, then numerous enough 
to form a bulky volume. . . . Supported by the frag- 

ZS 7 ment of a column, Time, moriturus, with shattered scythe 
and glass, exhales the final puff from his pipe, which breaks ae 
as it falls from his nerveless hand. By the will at his side *” 
he has devised his worldly goods to Chaos, his ‘sole Ex- 
ecutor, and the Fates are witness. Nature is bankrupt; 
Apollo lies dead in his chariot; the sign of the ‘ World’s 
End’ is falling, the ship founders, the trees are withered, 
and the moon is dark. A play-book open at Exeunt omnes; 
an empty money-bag; a shoemaker’s last and a cobbler’s 
end; the remnants of a crown; a halter and a stringless 
bow; a cracked bell and a broken bottle; a broom-stump 
and a gunstock without a barrel—litter the ground. The 
Times, the cause of so much heart-burning, crackles and 
parches in the flames of a candle-end, and the shattered 
palette of the painter has done its work.”—-Austin Dogson: 
William Hogarth, pp. 176-177. 


e 
f 


DRAMATIC. 


PORTRAIT OF RACHEL. Vy ‘S 
Lithograph by Raunheim. ub ” avinreL 
279 + PorTRAIT OF MADAME BOULANGER. 


__| Engraved by Bertonnier and Audouin after the 
S 58 painting by Rouget. 


Two portraits in one frame. One lot. 


281—Portraits OF Mute. DucHeEsnois, TacLioni, 
Mite. Georces Weimer, Miss Nasu, MLLE, y 


io a7) DuPulis. (Me aw es VVadey 


Five portraits in one frame. One lot. 


282—PorTRAITS OF CARLOTTA GRISsI, RistTorI, JUDITH, 
MapAME ALBont, Mrs. SImDpons As ‘ay 


et oD Tracic Muse, AND MLLE. PE ea UG 
Six portraits in one frame. One l6t 


283—PortTRAITS OF WILLIAM SHAKESPEARE Cie’ Chan- ® 
dos portrait engraved by John Hall), Epwin 
- 0 Forest, MoLigrRE, GEORGE AND JANE BEN- 
S NETT, BARRY SULLIVAN, MADAME CELESTE, * 


Miss Gtyn AND Miss Laura ADDISON. i 


284—Miss Cooper, CHARLOTTE AND SUSAN CUSHMAN, ° %&y 
AND SCENE FROM “ Mipas” (PorTRAITS OF 


3 60 FARREN AND MADAME VESTRIS). Ip OS 
Three pieces in one frame. One lot. / [wVr. MO | 


Nine portraits in one frame. One lot. | 
| 
. 
t 


4 


285—FAWCETT, THE COMEDIAN. FYbruadene 


Line engraving by W. G. Edw as after the paint- 
x ¢¢ ing by Sir Thomas Lawrence, P.R.A. 


286—PorTRAIT OF JOSEPH JEFFERSON. | 3 
P ye Photogravure and thfee other traits. 
Four pieces. One tof YUU. ah yn a valle } 
287—PoRTRAIT OF SARAH BERNHARDT. | ’ 
3 And three other portraits ra cee 
~ Jf P fa ; 
J- Four pieces. One oN atk yd 


288—PortTRAIT OF MAry ANDERSON. 


» ¢¢ And three other portraits. F 
in Four pieces. One lot. 


289—LEAR IN A stom VLane ol /) Nadunr. 


A Two illustrations to “ Romeo and Juliet,” and illus- e , 
tration to “ Virginius.” ) 
Four pieces. One lot. 


290—PaoLo AND POY a 
Exizaneru, // Mr.™M 
pe er 
Ore. And two other subject 
Four pieces. One lot. 


see Thre F I nie 


” @@ Line engraving by Girard, after Ducis. 


292—PoRTRAIT OF WANDERHOFF. 
Line engraving from a daguerreotype by Paine. 


293—THE Late Mr. Dowron as “ Dr. CANTWELL.” 


Three pieces. One lot. = 
294—Davip GARRICK : 


Line engraving after the painting by Pine. 


Q5—MAcrEADY. 
Lithograph by Le Moine. 
Two pieces. One lot. 


: _f96—La BLACHE As FALSTAFF. 


Lithograph by Salabert_ Coevit gh. 
[Aa / 


a” 97—A ter p oNicur AT’: THE PLAYERS.” 
! After the painting by C. Y. Turner. Proof on 
Japan paper. 


we 
2908—SHAKESPEARE’S HOUSE. 
Photograph. 


| 299—PortrRAIT oF Sir JOHN LuBBock. 


Together with an autograph letter signed, ad- 
dressed to Mr. O’Callaghan. 


¥ Two pieces in one frame. ne f, lla 


oo—Dr. SYNTAX AND His CouNTERPART. 


Aquatint in colors after Rolandson. 


AA Bane 


301I—P ay Brix ror “ THE ScHooL FoR SCANDAL.” 

The King’s Theatre, Haymarket, October 30th, 

1792. Sir Peter Teazle—Mr. King (the original 

/ y Sir Peter). Lady Teazle—Miss Farren (after- 


wards Countess of Derby). Besides King (the 
original Sir Peter), the names of the following © 
who appeared in the play on its production occur 
‘in this bill, namely: John Palmer, Aickin, Packer, 
Dodd, Baddeley and Miss Pope (the wees Mrs. 
Candour). 


302—AN ANCIENT Makes IN 1610, SHOWING 


| Ff } KinGc RicHarp’s BATTLEGROUND. 


Presented to Mr. Richard Mansfield by Mr. Wee- 
don Grossmith. Together with engraved plan for 
the salon of Princess Sartorinski of Poland. 


Two pieces. One lot. 


303—NapoLeon (‘“ THE Make 


Etched by Ruet, after the painting by Delaroche. 
a 4° 60 Signed remarque proof on vellum. 


oy 
303A—BEETHOVEN. 


Line engraving by A. H. Payne. ‘ 
7 fon. ‘ 


> 0 © \304—PHOTOGRAPH OF, PaBLINO D1az, INDIAN CHIEF. 
Two pieces. One lot. *i 


305—THE SMOKER’S REBELLION. 
Photogravure after G. H. Bouten. 


3h87 


30 5A—A Goop Story. | 
After H. Stacey Marks. / Md. yegeg ds a 


306—Tue LANDING OF THE VIKINGS. 


Etching and aquatint. 
Three pieces. One lot. 


DP ae 
307—THE OLD OxForD Toasy 
é (“ Hounds stout and ase 7a Coborde earth well 
| & yf b stocked and foxes plenty.’’) 
: Four etchings, by FE. Caldwell, upon one plate. 
One lot. 


308—JupitH AND HoLoFeRNEs. GRAIG 
! Line engraving, after the painting by Michel- 
rd ¢¢  angelo. 


CHARLES HOUDARD ; 
309—La MONTAGNE. e th) | 


Etching printed in colors. Signed artist’s proof 
/, 94 on Japanese paper. Sixth proof of ten printed. 


CHARLES HOUDARD 


310—ON THE MARSHES OF Brest. Wave (€ A CRA 
i Py, Printed in colors. Signed artist’s proof on Jap- 
an ff anese paper. Proof No. 9 of fifty printed. 


i 
CHARLES HOUDA a iy 
311—A Roap TuHRouGH THE Woop 2 ia 
Printed in colors. Signed Hee proof on Jap- 3 
vi anese paper. Proof No. 4 of ten printed. a 


EUGENE i ee RAD 


312—STREET IN Han FUR ae 


/ .@9@ Printed in colors. Signed\artist’s proof. ie. 
No. 15 of fifty printed. 


313—OLp CHINESE PAINTING. i, Q- Pale | 


v 0g: .@¢ ‘A legendary subject ee in brilliant colors and 
mounted on a mirror background. 


ee ae Oe eee ee aa ee eT re TTS Oe aa ee ees seat 
ro te ey ea = so 5 dll ee <5 id = fee a = = _——— eae 7 a o - 


SECOND AFTERNOON’S SALE 
TUESDAY, MARCH 3rp, 1908 
AT THE AMERICAN ART GALLERIES 


BEGINNING AT 2.30 0’CLOCK 


316—Fruit BASKET. 
Made by Pima Indians, Arizona. 


317—Otp Brass JAR oN TRIPop. | 


Globular shape, with lion head and loose ring 
handles. 


318—CicaR STAND. 


Ram’s horn, mounted in brass. 


: 319—ANTIQUE BRONZE INKSTAND. 
: French. 


320—ANTIQUE TEA Cappy. 


Black enamelled on tin; floral bouquet in iridescent 
mother-of-pearl. 


32I—ANTIQUE TIN TEA Cappy. 
Black enamel ; decoration, “ The Pet Dog.” 


322—ANTIQUE COFFEE URN. Be Pas | 
Enamelled metal; Dutch farming scene in me- — 
dallion. 


323—ANTIQUE TRAY. 
Black enamelled on tin; decoration of rustic scene. 


324—OLp Benares Brass JAR. 
Repoussé ornamentation of archaic designs. 
Height, 7 inches; diameter, 8 inches. 


325—OLp Benares PLATE. 


Engraved ornamentation. 
Diameter, 9 inches. 


326—THREE PEWTER CANDLESTICKS. 
Two, tall form, of Colonial design; one low form. 


327—-OLp Brass CANDLESTICK AND SNUFFERS. 
Low form, with large circular base. 


328—Pair ‘ANTIQUE BRONZE CANDLESTICKS. 
Tall shape. 


329—PaiR CANDLESTICKS AND SNUFFERS TRAY. 


Antique enamelled tin, with decoration of domestic 
scenes. 


330—Pair CANDLESTICKS AND SNUFFERS AND TRAYS. 
Yellow enamel. 


331—Pair CANDLESTICKS. 


Gilt and silvered brass; figures of “dancers” in 
relief. 


332—Pair ANTIQUE Brass CANDLESTICKS. 


With lustres; figure of veteran and child in relief; 
marble bases. 


333—ANTIQUE FRENCH DouBLE CANDLESTICK. 


Dolphin design ; medallion heads and twigs of fruits 
in repoussé on base. 


334—TABLE LAMP. 


Benares brass; openwork shade of Japanese brass, 
with Kiri crests and scrolls in openwork. Duplex 
burner. 


335—TasLe Lamp. 
Similar to the preceding. 


336—TasLe Lamp. 
Similar to 334. 


337—ANcIENT DutcH Lamp. 
Wrought in iron. 


338—ANTIQUE CopPpER CoAL Hop. 
Inverted helmet shape. 


3390—FoLpING FIRE SCREEN. 
Woven wire. 


340—FRENCH RENAISSANCE FENDER. 


Gilt brass ; openwork design, with panel of classical 
subject, surrounded by cornucopia and leafy scrolls. 
Height, 4 feet 6 inches. 


341—Pair ANTIQUE ANDIRONS. 


French Renaissance. Gilt brass; designs of urns, 
garlands of roses, festoons, trophies and flame 
finials. 


342—Louis XV. FENDER. 


Gilt brass; chiselled floral scrolls, shell ornament 
and pierced panels. 
Length, 5 feet 2 inches. 


343—Pair Louis XV. ANDIRONS. 
Bold leafy scroll design, wrought in brass and gilt. 


344—ANTIQUE COPPER Peat Pot. 
With brass hoops, lid and handle. 


Height, 17 inches; diameter, 11 inches. 


345—-SHERATON BRACKET CLOCK. 


Mahogany and marquetry case, English movement, 
with calendar attachment. Dial inscribed, “Begone 
about your business.” 


346—DutcH BRACKET CLOCK. 
Green enamel case, with gilt brass mountings and 
ornaments. 


347—Louis XIV. CLock. 


Sévres porcelain case, of lyre shape, enamelled with 
a king’s blue glaze; plinth, mountings and orna- 
ments of chiselled ormolu. The dial surrounded by 
an aureole. 


348—ANTIQUE FRENCH CLOCK. 


Carved white marble case of arch design, orna- 
mented with chiselled brass mounts and ornaments. 
Movement by Ferdinand Berthoud. 


-349—Pair Louis XV. CANDELABRA. 


Bronze cupids holding gilded brass branches of 
rosebush design ; white marble bases, with chiselled 
ormolu mounts. 


350—Pair Louis XV. CANDELABRA. 
Gilded brass; for five candles each. 


351— Two Gas Sipe BRACKETS. 


Two candle lights each, one fitted for electricity, 
the other for gas. 


352—T wo GREEN BRONZE SIDE BRACKETS. 
Three candle lights each, fitted for gas. 


353—I wo Louis XV. Sipe BRACKETS. 
Gilt brass; three candle lights each, fitted for gas. 


354—-ELABORATE ANTIQUE SIDE BRACKET. 


Gilt brass; ten candle lights, fitted for electric 
lighting. 


355—ANTIQUE CHANDELIER. 


French Renaissance; carved and gilt wood and 
composition. Eight candle branches, fitted for 
electric lighting. 


356—GiLT Brass CHANDELIER. 


Louis XVI. design. Eight candle branches, fitted 
for electric lighting. 


357—TIwo ANTIQUE SPANISH FANS. 


One, tortoise-shell, with inserted spangles; the s 
other, painted decoration, with openwork tortoise 
sticks. 


358—ANTIQUE SPANISH FAN. 


White gauze, covered with gold spangles; carved 
and gilt wood sticks of openwork designs. 


3590—ANTIQUE SPANISH FAN. 


White silk gauze, with hand-painted decoration of Ey 
figures, floral garlands and festoons of gold span- ta 
gles. Ivory sticks, carved and inlaid with metals, ‘ 
in intricate workmanship. 7 


| getter wl? el nage Pot eae era 


360—ANTIQUE SPANISH FAN. f 
White silk; painted and gold spangle decoration. ' 
Ivory sticks inlaid with metal. < 

ny 
361—Two ANTIQUE FRENCH FANS. ¢ 
One, paper, with figure medallions and elaborate 


SS ne eee 


scrolls and gilding ; carved ivory sticks. The other, 
chicken skin, with hand-painted medallions; ivory 
and inlaid sticks. 


* 


362—ANTIQUE FRENCH FAN. 
Louis XV. Mother-of-pearl, intricately carved and 
inlaid with gold and silver. 


363—ANTIQUE. ENGLISH FAN. 
Buff silk, with painted floral decoration ; beautifully 
carved mother-of-pearl sticks. 


364—ANTIQUE ENGLISH FAN. 
Chicken skin. Decoration of cupids and cloud 
forms in monotone. Ivory sticks. 


365—ANTIQUE PURSE. 
Old rose velvet, with needlework ornamentation of 
pastoral scene. 


366—CHATELAINE Bac. 


Antique French mounting, wrought in openwork. 
Black silk and steel bead bag. 


367—ANTIQUE CARRIAGE PARASOL. 
Black thread lace; carved ivory sticks. 


368—BisHop’s MITRE. 
Italian. Eighteenth century. Cloth of gold, with 
passion, heart-shaped medallions, leafy scrolls, em- 
broidered in silver threads and spangles. 


369—BisHor’s MITRE. 
Italian. Eighteenth century. Cloth of silver, with 
an elaborate ornamentation of sacred flowers and 
border design, embroidered in gold threads and 
spangles. 


370—SOFA PILLOw. 
Silk and wool tapestry ; floral bouquet in low tones. 


371—FRENCH Sora PILLow. 
Ivory white satin, with hanging basket; floral de- 
signs and lace pattern border in ribbon and chenille 
embroidery. 


372—FRENCH SOFA PILLow. 


Light green satin, with basket of chrysanthemum 
flowering plants and scrolls in ribbon and chenille 
embroidery. 


373—CHASUBLE. 


French. Louise Quinze. Flowered silk and gold 
brocade, trimmed with galloon. 


374—PRIEST’S VESTMENT. 


Spanish. Eighteenth century. Salmon-pink satin. 
Elaborate embellishment in silver thread and span- 
gles of passion flowers, leafy scrolls, grapevine in 
bearing and other designs. Consists of chasuble, 
stole and maniple. 


375—Louis XV. COPE. 
French silk and gold thread brocade. Elaborate 
floral design in low tones of colors on a yellow 


ground. Trimmed with galloon and fringe. Re- 
poussé gilt metal clasp. 


\ 
ie 

& 
3 


376—PIANO COVER. 
Originally a Venetian eighteenth century cope. 
Green satin brocade, with elaborate designs of 
trees, flowers, fruits, birds and other patterns, 
woven in low tones of silk. Trimmed with gold 
and silver galloon. For a Parlor Grand piano. 


377—COVERLET. 
French Louis Quinze. Salmon-pink silk and metal 
brocade. Elaborate floral and leaf designs, woven 
in silver and gold threads and delicate shades of 


green silk. Finished with silver galloon. 
Length, 6 feet 5 inches; width, 5 feet 2 inches. 


378—COVERLET. 


To match the preceding. 
Length, 7 feet; width, 7 feet. 


379—FRENCH PLUSH PANEL. 
Ruby-red silk, with elaborate Mosque window de- 
signs, woven in low tones of silk. Top and lower 

border of floral designs. 
Length, to feet; width, 4 feet 4 inches. 


380—CHINESE SILK CREPE SHAWL. 
Imperial yellow. Embellished with tree peonies, 
leafy scrolls and other designs; embroidered in 
bright-colored silks, the obverse and reverse being 
precisely alike. Deep fringe border. 


5 feet square. 


38I—JAPANESE PORTIERE. | 
Lavender-figured silk brocade. Elaborately em- 
bellished with dragons, aquatic and rich plumaged 
birds, chrysanthemums, cherry blossoms and lotus; 

embroidered in bright-colored silks. 
Length, 9 feet 6 inches; width, 4 feet. 


382—]JAPANESE COVERLET. 
Rose-pink satin brocade. Elaborate and rich em- 
bellishment of dragon pursuing the sacred pearl, 
rich plumaged birds, a bold tiger, chrysanthemums, 
blossoms, scrolls and other designs ; finely embroid- 
ered in rich and harmonious tones of silks. 
Length, 8 feet; width, 7 feet 6 inches. 


383—JAPANESE HANGING. ‘ 
Two howo birds, skilfully embroidered in various 
silks. The background, of solid needlework, is of ey 
the design of a wistaria vine in bearing, executed 
in ivory-white silk. Finished with wide borders of 
brown and silver grey brocade. 
Length, 6 feet 6 inches; width, 4 feet 8 inches. 


384—TapEstTRY PANEL. 
French weave of the eighteenth century. Subject: 
Constantine sees in the sky the monogram of Christ, 
and being converted to Christianity establishes it as 
the state religion of the Roman Empire. Woven in 
colors of low tone, greens predominating. 
Height, 9 feet 4 inches; length, 9 feet 4 inches. 


a 


385—Tapestry PANEL. 


French weave of the eighteenth century. Subject: 
Paris and Helen of Troy. Woven in harmonious 
colors, greens and blues predominating. | 

Height, 8 feet 2 inches; length, 17 feet ¥0 inches. 


387—-LonG FLEMisH Tapestry PANEL. 


Sixteenth century design in seventeenth century 
weave. Subject: The Coronation of Alexander the 
Great. Woven in low tones of ivory-white, greens, 
blues and brown. 

Height, 7 feet 5 inches; length, 16 feet 11 inches. 


388—Pair oF GOLD BULLION EPAULETS. 


Decorated with Austrian crown and the stars and 
btittons of The Order of St. John of Malta. Also 
wide blue moire silk ribbon sash. All in an old- 
time tin epaulet box. 


389—GAUNTLETS. 


Pair of chain mail gloves; fine mesh of unwelded 
links, strengthened at wrists by extra fine mesh. 
Finger tips open. Very large hand. 

Length, 16% inches. 


390—PISTOL. 
' German. Flint-lock horse pistol. Eighteenth cen- 
tury. Steel barrel and lock; wood stocks. En- 


graved brass mounts. 
Length, 1814 inches. 


391—PISTOL. 


Flint-lock pistol. Early eighteenth century. Bar- 
rel inlaid with silver, wood stock, mounts of chis- 
eled steel, wooden rammer. Signed on lock, P. 
MARTINONI. 

Length, 11 inches. 


392—SWorD. 


Empire period dress sword. Triangular hollow 
ground blade, decorated with gold ornament ; chis- 
eled ormolu guard, ornamented with lion’s heads 
and military emblems in relief. Mother-of-pearl 
grip. 
Length, 37% inches. 
393—SWORD. 


Mounted officer’s saber. Slender, bright steel 
blade, slightly curved, grooved on each side. Steel 
scabbard. Bronze basket hilt. 

Length, 40 inches. 


394—ANTIQUE JEWEL CASKET. 


Carved wood. Decoration of hunting scenes, ecus- 
son, birds and other designs chiselled in high relief. 
Parcel-gilt and incrusted with imitation precious 
stone. 


395—ANTIQUE RUSSIAN STATUETTE. 


St. Peter. Silver gilt, incrusted with imitation 
jewels. Hall mark. 


396—ANTIQUE RussIAN POLYPTYCH. 
Brass. Scenes from the Life of Christ, in relief 
casting and chiselled on a background filled in 
with blue and white enamel. 


NGM Ai 


3 { we 


t 
} 
Ty 3 


_. 397—AnTIQUE RussIAN Icon. 


Artistic repoussé ornamentation of Madonna and 
Saints, encrusted with lapis-lazuli, turquoise and 
other stones. Hall mark. 


398—CarRVED AND GiLt Woop STATUETTE. 


Cupid. 
Height, 15 inches. 


3990—ANTIQUE TEA CHEST. 
Walnut, with marquetry medallions. 


400—SERVING TRAY. 
Walnut, with brass inlays. Needlework panel 
underneath glass. 


40I—ANTIQUE TEA TRAY. 


Green-painted metal. Figures and garden scene 
finely painted in medallion. Silver-plated rim and 
handles. 


402—ANTIQUE WOODEN TRAY. 


Oval shape. Marquetry medallion of shell design, 
rimmed with metal. 


403—TrEA TRAY. 
Walnut, with inlay. Brass handle. 


404—ANTIQUE TEA TRay. 


French walnut, with needlework panel underneath 
glass. 


405—ANTIQUE MAHOGANY WINE COOLER. 
Brass hoops and lining. 


406—FLORENTINE Book Rest. 
Carved and gilt wood. 


407—TuRKISH TABOURET. 


Arabic inscriptions, foliated scrolls and star-shaped 
ornaments, inlaid with various woods and mother- 
of-pearl. 


408—LarGE TURKISH TABOURET. 


Elaborately inlaid with various woods and mother- 
of pearl. Arabic inscriptions. 


409—ANTIQUE ENGLISH PEDESTAL TABLE. 
Column supports and octagon top. 


AIO—ANTIQUE MaHoGANY CANDLESTAND. 
Sheep foot. 


ATI—ANTIQUE Manocany Tip TABLE. 
Carved claw feet. 


412—Co.LoniAL Tip TABLE. 
Mahogany; inlaid rim. 


413—ANTIQUE MAHOGANY TABLE. 


Colonial. With enclosure and two drop leaves. 
Carved ornamentation and claw feet. 


414—CoLoniAL Bureau Mrrror. 
Carved mahogany; swinging glass. 


415—JAPANESE WorK TABLE. 


Lacquered ornamentation of birds, peonies and 
blossoms. 


416—CHINESE TEAKWooD HaALi TABLE. 
Carved openwork panel. 


417—Lapy’s WritinG DEsK. 


Japanese. Cherry wood. Elaborate carved orna- 
mentation of dragons, storks, flowers and foliated 
scrolls. With drawers and side enclosure. 


418—OLD-FASHIONED RUSH-SEAT CHAIR. 
Painted lavender-color frame, with shell pattern 
and scrolls in silver and gold. 


419—OLD-FASHIONED RusH-SEAT CHAIR. 


Painted in yellow, with panels of fruits and foliated 
scrolls in colors and gilded. 


420—OLD-FASHIONED RUSH-SEAT CHAIR. 
Yellow-painted frame, with fret borders and folia- 
tions in silver and gold. 


421I—EIGHT OLD-FASHIONED CANE-SEATED CHAIRS. 


Painted black frames. Eagle within laurel wreath; 
foliations and borders in gilding. 


ral eb bs ki DEON oa? 


422—-Two OLD-FASHIONED CANE-SEATED CHars. 4 
Painted black frames. Dish of fruit and leafy 
scrolls in gilding. me 


423—THREE OLD-FASHIONED CANE-SEATED CHAIRS, 


Painted black frames. Leafy scrolls and borders in 
yellow and gilding. 


424—Two OLD-FASHIONED CANE-SEATED CHAIRS. 


Painted black frames, with splat backs, floral and 
leafy scrolls and gilding. 


425—-T' wo OLD-FASHIONED CANE-SEATED CHAIRS. 


Painted black frames, with cornucopias, floral and 
leafy scrolls in gilding. 


426—THREE OLD-FASHIONED CANE-SEATED CHAIRS. 


Painted black frames, with landscape and marine ~ 
views in sepia brown and gilding. 


427—-Two OLD-FASHIONED CANE-SEATED CHAIRS. 


Painted black frames, with flowers and shells in 
colors and gilding. 


428—ELEVEN OLD-FASHIONED WINDSOR CHAIRS. 


Painted frames; splat back. Decoration of star 
ornaments and leafy scrolls in black, brown and 
gilding. 


429—MaAHOGANY CHAIR. 


Back panel inlaid with shell design and other orna- 
mentation. Upholstered seat. 


430—ANTIQUE WALNUT SIDE TABLE. 
Four cabriole legs, with sheep feet. Drawer and 
sides faced, veneered in parquetry. Scaglioli mar- 
_ ble top. : 


43I—ANTIQUE ITALIAN CHaIR. 


Carved back and front brace. Seat upholstered in 
garnet silk velvet. 


432—Two CarveD WALNUT CHAIRS. 
“Sheraton.” Carved openwork backs, legs and 
underbrace.° Seats covered with silk arras em- 
broidery. 


433—CURRICULE CHAIR. 
Italian. Inlaid with ivory and olive wood. Up- 
holstered in red velvet and brass nails. 


434—CURRICULE CHAIR. 


Carved and gilt. Arabic inscription on back. Star- 
shaped ornaments and inlaid with mother-of-pearl. 


435—MoortsH TABLE. 
With shelf. Elaborately carved with ‘Arabic in- 
scriptions, with scroll designs, star-shaped and 
other ornaments inlaid with mother-of-pearl and 
ebony. 


436—Two MoortsH Harti Cuarrs. 


Elaborately carved, and inlaid with mother-of-pearl. 
Seat upholstered in silk and gold thread damask. 


437—HEPPLEWHITE SETTEE. 
Mahogany and inlaid frame, covered with Louis 
XVI. silk brocade of stripe and floral pattern. 


438—CarveD MAHOGANY CHAIR. 


“ Hepplewhite.” Seat covered with watered silk 
brocade of green and white stripes and floral vines. 


439—COoLONIAL WinG ARMCHAIR. 
Carved mahogany frame. Upholstered in flowered 
cretonne. 


440—ANTIQUE DRESSING STAND. 


Mahogany. Supported by lyre shape standards, 
carved claw feet. Swinging mirror, one large and 
two small drawers, with glass knobs. 


441—GoTHIC TABLE. 
Carved oak. Parquetry octagon-shape top. 


442—ANTIQUE ITALIAN TABLE. 
Oblong shape, with two drawers. Marquetry panel 
on top of classical design. Entire surface covered 
with marquetry in different woods. 


443—Two ARMCHAIRS. 
Italian Renaissance. Carved and gilt walnut 
frames. Upholstered in red satin damask and 
fringe finish. 


444—ARMCHAIR. 
Italian Renaissance. Carved walnut frame, with 
gilt leaf-shape finials. Seat and back covered with 
red satin damask and trimmed with galloon and 
fringe. 


445—ANTIQUE ITALIAN ARMCHAIR. 
Carved walnut frames, with gilt finial ornaments. 
Seat and back upholstered in red silk damask and 
fringe finish. 


446—THREE THRONE CHAIRS. 
Antique Italian. Carved walnut frames, with gilt 
finial ornaments. Seat and back upholstered in red 
satin damask and fringe finish. 


447—Two THRONE CHAIRS. 

' Italian Renaissance. Carved wood frames. The 
underbrace with ecusson, eagles and scrolls in bold 
relief. Upholstered in figured olive-green velvet, 
and finished with gold galloon and large brass 
nails. Finial ornaments of brass finely chiselled. 


448—THRONE CHAIR. 
Italian Renaissance. Carved arms and underbrace, 
the latter with ecusson, leafy scrolls and high relief. 
Upholstered with garnet silk velvet and gold gal- 
loon. The back ornamented with cardinal’s coat-of- 
arms in appliqué. Brass finials. 


449—Pair ELABORATE ARMCHAIRS. 
Italian Renaissance. Carved walnut arms, legs 
and underbrace. Upholstered in rich green satin 
damask and fringe finish. 


450—Two EvLaporatE THRONE CHAIRS. 
Carved and gilt frames. Seat and back covered 
with rich green satin damask. Trimmed with wide 
velour galloon, and ornamented with an appliqué 
ecusson. Brass finials. 


451—ADAM’S TABLE. 
Half round shape, with folding top and four 
straight legs. Satin wood inlaid with other woods, 
and painted decoration of floral festoons and ribbon 
filets. : 


452—ADAM’S ARMCHAIR. 


Satin wood. Painted ornamentation of floral bou- 
quets and leafy scrolls. Cane back, loose cushion of 
sixteenth century French brocade. 


453—Louis XVI. TABLE. 


Decorated porcelain of the Sevres style. Vase sup- 
port and large plaque decorated with cupids and 
floral wreath, finely painted in brilliant enamel 
colors; borders of turquoise blue. Elaborate 
mountings of gilt brass. 


454—REcEPTION CHAIR. 
Carved and gilt. Cane seat. 


455—Louis XV. Gem CABINET. 
Tulip wood, with chiselled brass mounts. Bevelled 
glass top, sides and ends. 


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450—Marquetry TEA TABLE. 
With glass tray. Mountings of gilt brass. Louis 
XV. style. 


457—Louis XVI. Gem CABINET. 
Circular shape. Carved and gilt wood. Glass top 
and sides, lined with silk damask. 


458—Louis XVI. SETTEE. 
Carved and gilt wood frame. Double cane back 
and wings, loose cushions of striped satin brocade, 
with floral and vine designs on rose-pink and pale- 
green ground. 


459—Two Louis XVI. Reception CHaIrs. 
Carved and gilt wood frame. Upholstered to match 
the preceding. 


460—Lovuis XVI. CHaIsE LOUNGE. 
Carved and gilt wood frame, with double cane 
back and wings. Loose cushions of striped satin 
brocade of floral design on rose-pink and green 
ground, 


461—Louis XVI. CentTRE TABLE. 
Circular shape, on four slender legs, with under- 
brace and basket shape ornament. FElaborately 
carved in relief and finished in white. Variegated 


marble top. 


462—Louis XVI. BERGERE. 
Frame of carved and gilded wood, covered with 
heavy silk brocade of the period. Gold floral and 
leafy scroll designs outlined, with gold thread 
loose cushion. 


463—Louis XVI. Accouporr. 
Elaborately carved wood and gilded. Upholstered 
with silver and silk flowered brocade of the period. 
Loose cushion. 


464—FRENCH ARMCHAIR. 
Carved and gilt wood frame. Upholstered in red 
silk flowered brocade. 


465—Larce Louis XV. Sora. 
Finely carved and gilt wood frame. Upholstered 
in flowered red satin damask. 


466—Louis XV. ARMCHAIR. 
To match the preceding. 


467—Two Louis XV. S1pE CHairrs. 
To match sofa. 


468—Two Louis XV. ARMCHAIRS. 
Carved and gilt wood frames. Upholstered in ma- 
roon satin damask of bold floral pattern. 


469—CoNSOLE TABLE. 
French Renaissance. Elaborately carved and gilt 
wood frame. Grey marble top. 


470—TALL WALL BRACKET. 


Italian Renaissance style. Carved and gilt orna- 


mentation. 
Height, 5 feet. 


471—Pair TWISTED COLUMNS. 
With Corinthian capitols. Carved wood and gilt. 
Vine ornamentation carved in high relief. 
Height, 4 feet 4 inches. 


472—-FOURFOLD SCREEN. 


Carved English oak frame, with panels of tooled 


leather. 
Height, 5 feet 11 inches; width, 8 feet 4 inches. 


473—TALL FourFOLD SCREEN. 
Covered with antique Spanish leather, embossed 
floral and scroll designs in low tones and golden 


lustre. 
Height, 6 feet 9 inches; width, 9 feet. 


474—PIANO. 
Rosewood veneered case, with painted decorations 
of festoons, metal inlays and mounts. Has three 
drawers in base. Made by A. Babcock for R. 
Mackay, Boston. 


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475—ANTIQUE CHIPPENDALE CONSOLS. 


Carved cabriole legs, with claw feet, leaf scrolls, 
shell ornaments and fleur-de-lis carved in relief. 
Egyptian marble top. 


470—ANTIQUE MARRIAGE CHEST. 


Italian Renaissance. Carved and inlaid ornamenta- 
tion. 


477—COLONIAL SECRETARY. 
Mahogany, inlaid with satin wood lines, and initial 
C. F., and date, 1807. Has four large drawers, 
numerous smaller ones and enclosure. 


478—LARGE COLONIAL BUREAU. 


Mahogany, carved columns and claw feet; original 
glass knobs. Has four large drawers. 


479—ANTIQUE BUREAU. 


Italian Renaissance. Elaborately carved ornamen- 
tation of foliated scrolls, masks and handles. 


480—BuREAU SECRETARY. : 
Mahogany. Three drawers, slide and secret com- 
partment. Carved figures of Saints in bold relief 
concealing secret compartment. Claw feet and 
elaborate border of masks and foliations. 


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481—ITALIAN RENAISSANCE CABINET. 
Walnut. Mouldings and panels artistically carved 
in relief, with ecussons, bold foliations and gro- 
tesque masks. Has drawers and enclosures. 


Height, 4 feet 7 inches; width, 4 feet 4 inches; depth, 21 
inches. 


482—Two DiIvans. 
Upholstered, green silk velours, and trimmed with 
old gold galloon. Each with large cushions to 
match. 


483—HeEnri Deux Woop MANTEL. 


The shelf supported by turned columns with Gothic 
capitals, the curved soffit elaborately panelled. The 
front of overmantel is in three panels formed by 
spiral-turned columns; the upper part of each panel 
contains a head surrounded by Gothic tracing; the 
lower part of centre panel has two shields and scroll 
work; the lower part of the other two panels is 
filled with linen scroll design. A band of leaves en- 
circles capital to frieze. The ornamental members 
on the front are returned on both ends, which are 
panelled. 


Outside measurement: Height, 11 feet 2 inches; width, 5 
feet Io inches. 
Fireplace opening: Height, 3 feet 10 inches; width, 3 feet 
4 inches. 


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484—FRENCH RENAISSANCE Woop MANTEL. 


Pilasters in form of caryatides carry the shelf. The 
frieze is decorated with carved mask, festoons of 
flowers and leaves, and the ends of mantel are 
panelled. The overmantel, which has an oil por- 
trait of a court beauty inserted in an oval frame, 
has spiral fluted columns, with clusters of grapes, 
birds and vine leaves supporting a frieze with car- 
touche and scrolls in high relief. The panels at 
ends of frieze enclose marks, and the terminating 
capitals are enriched with floral carving. 

Outside measurement: Height, 11 feet 6 inches; width, 5 

feet 8 inches. 


Fireplace opening: Height, 3 feet 1 inch; width, 3 feet 8 
inches. 


THE AMERICAN ART ASSOCIATION, 


MANAGERS. 


THOMAS E. KIRBY, 


AUCTIONEER. 


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